 | Rameau, Jean-Philippe - Variation III from "Gavotte with Six Doubles" for Harp Harpe |
VoirPDF : Variation III from "Gavotte with Six Doubles" for Harp (1 page - 74.64 Ko)1 275x⬇ MP3 : Audio principal (74.64 Ko)235x⬇ 1690x
Variation III from Gavotte with Six Doubles for Harp
MP3 (2.22 Mo) : (par Leonard Anderson)122x⬇ 266x
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| Compositeur : | Rameau, Jean-Philippe (1683 - 1764) | ||||
| Instrumentation : | Harpe1 autre version | ||||
| Genre : | Baroque | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 24 Oct 2012 Jean-Philippe Rameau (1683 - 1764) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722). He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests. His debut, Hippolyte et Aricie (1733), caused a great stir and was fiercely attacked for its revolutionary use of harmony by the supporters of Lully's style of music. Nevertheless, Rameau's pre-eminence in the field of French opera was soon acknowledged, and he was later attacked as an "establishment" composer by those who favoured Italian opera during the controversy known as the Querelle des Bouffons in the 1750s. Rameau's music had gone out of fashion by the end of the 18th century, and it was not until the 20th that serious efforts were made to revive it. Today, he enjoys renewed appreciation with performances and recordings of his music ever more frequent. Dance music: the danced interludes, which were obligatory even in tragédie en musique, allowed Rameau to give free rein to his inimitable sense of rhythm, melody, and choreography, acknowledged by all his contemporaries, including the dancers themselves. This "learned" composer, forever preoccupied by his next theoretical work, also was one who strung together gavottes, minuets, loures, rigaudons, passepieds, tambourins, and musettes by the dozen. Although originally composed for period instruments (possibly Harpsichord and Lute), I created this arrangement for Concert (Pedal) Harp. Partition centrale : | Nouvelles suites de pièces de clavecin (17 partitions) | | |||
