Jean-Philippe Rameau - 3 Ouvertures: Castor et Pollux, Naïs & Platée
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- เผยแพร่เมื่อ 28 มี.ค. 2019
- Jean-Philippe Rameau (25 September 1683 - 12 September 1764) was one of the most important French composers and music theorists of the 18th century. 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.
Trois Ouvertures
1. Castor et Pollux (c. 1737)
2. Naïs (1749) (4:25)
3. Platée (1745) (8:18)
Les Talens Lyriques conducted by Christophe Rousset - เพลง
Normally I'm not fascinated by French music, but this is quite remarkable and intense..I also love the interpretation!!!
I'm impressed and pleased, thank you for posting!
Wow these are great, surprisingly original stuff in here like a lot of really interesting rhythms. what a genius.
I absolutely love the Castor et Pollux opera, and the Ouverture is just a taste of the the quality to come.
BEAUTIFUL ! MANY THANKS @Bartje Bartmans ♥ ♥ ♥ ♥ ♥
Thanks a lot❤
La de Platée est merveilleuse, j'écoute tant de fois qu'elle joue dans la tête
Is noone going to talk about how epic the viola part in nais is!?
The introductory motif sounds like the beginning of the Beethoven’s Grosse fugue subject. (:
Gracias y saludos cordiales desde Mallorca para ti también bartje bartmam
What an unsual quartet clef setting at Platée.
Not unusual for those times.
They sure did. It's nice to get exposed to this from time to time.
^ Yes, the French have always prided themselves on being different, even in the baroque, haha.
Check out his Treatise on Harmony, it includes a chapter with probably every use of clefs at the time.
I find this music too much mathematical
^ The maddening thing about Rameau is that he was indeed a technician and a theorist. After all, he was the one who corrected the erroneous belief at the time that inverted chords of the same sonority were different chords from one another altogether. However, in spite of his mathematical approach to music, much of his music is stunningly beautiful and holds a great deal of character. Apparently, while at the harpsichord experimenting/composing, he would come alive. When he closed the lid, he receded back into his very non-personable and cold shell.
@@rominn2184 I wouldn't say erroneous. Music was just thought of much differently at this time. Even Bach himself didn't exactly "buy" the whole inversions thing because not all inversions of chords in functional contexts are equal. In counterpoint, you would never end a tune on a second inversion tonic chord (it doesn't even have tonic function in modern music theory) and chords based on the third scale degree were almost always in first inversion according to inversion theory. Not all inversions are equal in counterpoint based music. Just my two cents.
if only mathematics were so harmonious and so ispirating !