Comédie-ballet in three Acts. Par RAMEAU JEAN-PHILIPPE. This edition presents a further dramatic jewel for the stage by Jean-Philippe Rameau. It comes with a vocal score for study and rehearsals as well as with a compilation of the purely instrumental parts for performance as a suite in the concert hall. In view of the wealth of the work’s musical treasures and the stylistic innovations – similar to the “Boréades” – the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this Comédie ballet not being performed until well into the 20th century. The story that the ballet tells is based on a fable by La Fontaine, “Le Petit chien qui secoue de l’argent et des pierreries” (i.e. “The little dog who shakes silver and stones”). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones: and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opéra. The critical new edition published as part of the “Opera omnia Rameau” series offers the final version, supplemented in the appendix by the variants of the original version. Since “Les Paladins” remained unpublished during Rameau’s lifetime and was also not included in the “Œuvres complètes”, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians./ Répertoire / Chant et Piano

Par RAMEAU JEAN-PHILIPPE. In addition to three Motets for Soli, Choir and Orchestra only the Motet Laboravi has survived from the sacred music of Rameau. Laboravi was published in Rameaus Traité de l'harmonie réduite à ses principes naturels in the chapter about the fugue as an exampel. But she was probably composed around 1700. / Musique religieuse / Répertoire / Solistes ou Choeur SST (A) TB et Basse Continue

Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra

Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano

Par RAMEAU JEAN-PHILIPPE. Amongst Rameau?s stage works which have come down to us in two main versions, such as ?Dardanus? (1739, 1744), ?Platée? (1745, 1749) and ?Zoroastre? (1749, 1756), none fell into oblivion for as long a period as ?Castor et Pollux?. After the work had been premiered in 1737, not until 1754 did Rameau decide to revise it. He asked his librettist ?Gentil-Bernard? to add an act to the tragedy and to give more weight to the brotherly friendship between Castor and Pollux. The main plot remains very similar to the one of 1737, aside from the fact that the sisters Télaïre and Phébé no longer are in love - the one with Castor the other with Pollux - but rather both with Castor which is the reason why Phébé is jealous of Télaïre. Already at the beginning of the first act Pollux relinquishes his love of Télaïre to the benefit of Castor. Castor, however, is killed by Linceus and finds himself in Hades. Pollux commits to saving his brother, sacrifices his immortality and declares his willingness to take Castor?s place in Hades so that his brother and Télaïre may be reunited. Jupiter, moved by this sacrifice, frees Pollux and bestows the couple immortality by giving them a place in the zodiac. Following the editorial principles of the ?Opera omnia Rameau? (and in contrast to the 1903 edition by August Chapuis issued within the old Rameau series), both versions of ?Castor et Pollux?, the version of 1737 (OOR IV.3) and the present version of 1754 (OOR IV.23), are published in two separate volumes in their entirety. Owing to the discovery of the original performance material, today preserved at the Gesellschaft der Musikfreunde in Vienna, the second version of 1754, which up until today was in the shadow of the 1737 version, can now be presented with its more tightly woven plot in all its vigor and dramatic momentum. This edition is enriched with twelve additions which enable the performance of the 1763-1764 version when the work was restaged. / Date parution : 2023-06-16/ Répertoire / Chant et Piano

Psaume 83-Jean-Philippe Rameau's Quam dilecta tabernacula (Psalm 83) for SATB.The three grands motets Quam dilecta In convertendo and Deus noster refugium which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau’s great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770 after Rameau’s death and the works have been rendered in a scoring which does not correspond to his intentions. The present new editionattempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau’s autograph score from 1751.

Operatic Arias: Tenor Vol. 2-J-P. Rameau's Haute-contre / Operatic arias: Tenor Volume 2 BA 9197. This volume contains the second half of the great monologues arias and ariettas that Rameau wrote for Haute Contre and which are sung today by a high Tenor. It includes Tenor arias from the operas: “Les Paladins” (Atis Manto) / “Platée” (Thespis Platée) / “Pygmalion” (Pygmalion) / “Le Temple de la Gloire” (Apollon Bacchus Trajan) / “Zaïs” (Zaïis un Sylphe) / “Zoroastre” (Zoroastre).Features: Detailed historical Introductions (Fr/Eng) Well-presented idiomatic Piano reduction based on Rameau's “Opera Omnia” Each number is preceded by a brief account of the dramatic situation and an English translation of the Vocal text Co-edited by the Centre de musique baroque de Versailles and the Société Jean Philippe Rameau (distributed exclusively by Bärenreiter)

Operatic Arias: Soprano/Mezzo Vol. 1-Grand dessus/Operatic arias: Soprano and Mezzo-Soprano BA 9195. This volume contains all the great monologues arias and ariettas which Rameau composed for grand dessus and which are sung by Sopranos and Mezzo-Sopranos today. Arias for soprano and mezzo-soprano from the operas Castor et Pollux (Minerve Phébé) / Dardanus (Vénus) / Les Fêtes de l’Hymen et de l’Amour (Orthésie) / Les Fêtes de Polymnie (Polymnie Stratonice) / Hippolyte et Aricie (Phèdre) / Les Indes galantes (Hébé Phani Zaïre) / Platée (Junon) / La Princesse de Navarre (Une Devineresse) / LesSurprises de l’amour (Uranie Hersilide) / Le Temple de la Gloire (Lydie Plautine) / Zéphyre (Diane) / Zoroastre (Érinice). Detailed historical introduction (Fr/Eng). Idiomatic Piano reduction arrangements based on the Opera Omnia Rameau. Each piece is introduced by a précis of the dramatic situation and an English translation of the vocal text. Co-edited by the Centre de musique baroque de Versailles and the Société Jean-Philippe Rameau. Distributed exclusively by Bärenreiter.

Ballet héroïque in a prologue and 3 acts-With a brief foreword (Fr/Eng) containing salient information on the genesis of the work the synopsis and the edition. Les F'tes de l?Hymen et de l?Amour was performed on 15 March 1747 on the occasion of the second marriage of the Dauphin Louis Ferdinand de Bourbon and Maria Josepha of Saxony in the Man'ge de la Grande 'curie in Versailles. This second collaboration between Rameau and Cahusac makes use of the ?ballet h'ro'que? genre usually known today as ?op'ra-ballet? based on various story lines which run independently of each other. The score is based on a libretto inspired byEgyptian mythology and freemasonry. Rameau's ?Les F'tes de l'Hymen et de l'Amour? was long considered second-rate because its premi're was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas such as ?Za's? ?Zoroastre? and ?Les Bor'ades?. Working together with his librettist Cahusac Rameau sought to weave the dance numbers choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from ?Aru'ris? a scoring found nowhere else in his ?uvre. For the first time this scholarly-critical edition of ?Les F'tes de l'Hymen et de l'Amour? presents a reference version of the work that is based on all the major sources for both the libretto and the music including two recent musical discoveries. As most of the performance material for the premi're has vanished this edition is based on the version prepared for the Acad'mie Royale de Musique in 1748.

Baritone-Operatic AriasBased on the Opera Omnia Rameau (OOR) This edition contains the great monologues arias and ariettas that Rameau wrote for basse-taille (the 18th-century equivalent of today’s baritone). The volume which contains a historical Introduction in German and English is based on the critical edition of the works Opera omnia Rameau (OOR). A short description of the dramatic situation and an English translation of the vocal text precede each number. The volume contains the baritone arias for the main characters from the following operas: Anacréon (Anacréon)Castor et Pollux (Pollux)Dardanus (Anténor)Les Fêtes de Polymnie (Zimès)Hippolyte et Aricie (Thésée)Les Indes galantes (Bellone Huascar Adario)Naïs (Tirésie)La Naissance d’Osiris (le grand Prêtre)Nélée et Myrthis (Nélée)Les Paladins (Orcan Anselme)La Princesse de Navarre (un Français)Les Surprises de l’amour (Anacréon Astole)Le Temple de la Gloire (l’Envie)Zoroastre (Abramane)

Edition Complète. Par RAMEAU JEAN-PHILIPPE. Rameau's only surviving opera based on a libretto by Voltaire has survived in two versions (1745 and 1746), whereby the 1745 version was long considered lost. Volume IV.12 of the series ?Opera omnia Rameau? presents a complete edition which enables performances of both versions. Voltaire refers to Metastasio in his libretto in that he wishes to liberate the opera from the gallant milieu and to make it a moralizing stage work that is equally edifying and political. After a prologue dedicated to envy personified, the tyrants Bélus and Bacchus are chased out of the Hall of Fame and finally Trajan is crowned with laurels for defeating the rebels, forgiving them and ultimately turning the Hall of Fame into a public temple. The music contains many remarkable passages, such as a richly orchestrated overture, the famous monologue ?Profonds abîmes du Ténare? with obbligato bassoons, and Trajan's artful final scene ?Ramage d'oiseaux?./ Répertoire / Chant et Orchestre

Par RAMEAU JEAN-PHILIPPE. Cantates françaises à voix seule avec symphonie. Livre premier. Edition : Paris, l'Auteur, Boivin, Leclerc (s.d. = 1729).Oeuvre remarquable. Exellente préparation à l'étude du théâtre lyrique de Rameau.Publication originale, en partition. / Niveau : Facile / Répertoire / Duos (2 Dessus, Instruments et Sib ou Do et Violon

Pastorale Héroïque In One Act-The heroic pastoral Daphnis et Eglé was performed only once on 29 October 1753 for the entertainment of King Louis XV at Fontainebleau and remained unpublished until today.This edition is based on Rameau's autograph manuscript a copy of the separate parts and the libretto published by Ballard in 1753. A comparison of the sources reveals two versions of the work: the original version and the one revised for Fontainebleau whereby the differences lie mainly in the final divertissement. This edition recommends the Fontainebleau version?which is actually more complete in its musical form in particular with its overture and two ariettas?but also reconstructs theoriginal state of the final divertissement (presented in the appendix) before it was revised.Urtext edition from the Rameau edition 'Opera omnia'.Full score (BA8862) and vocal score (BA8862-90) available for sale.Performance material (BA8862-72) available for hire.