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Jean-Philippe Rameau: His Life and Work
The definitive biography and critical study of Jean-Philippe Rameau (1683–1764), this volume deals at length not only with the composer's musical achievements but also with aspects of his life and work that made him one of the most important cultural figures in eighteenth-century France. Fascinating incidents include his central position in a musical controversy that excited the enmity of Rousseau, Diderot, and the Encyclopedists; his friendship and collaboration with Voltaire; and his position as the author of a treatise on harmony that endured for two centuries.
This critical evaluation focuses chiefly on Rameau's musical works, devoting entire chapters to his operas and ballets as well as his chamber music, cantatas and motets, and minor works. Additional topics include his links to Lully, his influence on Gluck, and the nature and importance of his acoustic and harmonic theories. Supplements include more than 300 musical examples, numerous useful appendices, indexes, an extensive bibliography, and a new Introduction by the distinguished musicologist and historian Philip Gossett.
This critical evaluation focuses chiefly on Rameau's musical works, devoting entire chapters to his operas and ballets as well as his chamber music, cantatas and motets, and minor works. Additional topics include his links to Lully, his influence on Gluck, and the nature and importance of his acoustic and harmonic theories. Supplements include more than 300 musical examples, numerous useful appendices, indexes, an extensive bibliography, and a new Introduction by the distinguished musicologist and historian Philip Gossett.
672 pages, Paperback
First published January 1, 1969
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December 14, 2020
First, I must note the perfect beauty of the name of the author of this tome: Cuthbert Girdlestone. Despite appearances, this is not a Monty Python character, but an eminent musicologist. He has become my first nomination for the Great English Names Hall of Fame.
This is an outstanding book about an outstanding musician. At the time Girdlestone was writing, it was very hard to hear much of Rameau's music. This has changed in recent times as baroque opera has experienced a renaissance. But for the most part Girdlestone had to imagine how Rameau's larger compositions would sound with singers and orchestra by plinking away at his piano.
As with many musicians of his time, Rameau did not leave behind much documentation about his life. The strictly biographical portion of this book is contained in two chapters: one at the beginning outlining his first fifty years, and one near the end describing his last thirty years. The rest of the book discusses his compositions in great detail. There is just one chapter about the only music of his that I knew previously, his compositions for harpsichord. It turns out that these were primarily written in the early part of his career. At age fifty, he composed his first opera. From then on, he was a devoted and prolific composer for the stage in various forms.
Girdlestone's descriptions of Rameau's operas make one eager to see and hear these pieces. His analyses, using copious musical examples, are nearly as thorough and detailed as Ernest Newman's writing about Wagner's operas.
One thing I hadn't realized that was very interesting was that Rameau moved in the same circles as Voltaire. Voltaire collaborated with Rameau on three pieces, one of which is sadly lost. Rameau's interest in music theory makes sense in the context of Denis Diderot and the Encyclopedia. Rameau seems to have been seeking (with imperfect success) to establish a scientific basis for music.
If you are interested in learning about Rameau and his times, you will get a lot out of this book. But be advised, it's a long one!
This is an outstanding book about an outstanding musician. At the time Girdlestone was writing, it was very hard to hear much of Rameau's music. This has changed in recent times as baroque opera has experienced a renaissance. But for the most part Girdlestone had to imagine how Rameau's larger compositions would sound with singers and orchestra by plinking away at his piano.
As with many musicians of his time, Rameau did not leave behind much documentation about his life. The strictly biographical portion of this book is contained in two chapters: one at the beginning outlining his first fifty years, and one near the end describing his last thirty years. The rest of the book discusses his compositions in great detail. There is just one chapter about the only music of his that I knew previously, his compositions for harpsichord. It turns out that these were primarily written in the early part of his career. At age fifty, he composed his first opera. From then on, he was a devoted and prolific composer for the stage in various forms.
Girdlestone's descriptions of Rameau's operas make one eager to see and hear these pieces. His analyses, using copious musical examples, are nearly as thorough and detailed as Ernest Newman's writing about Wagner's operas.
One thing I hadn't realized that was very interesting was that Rameau moved in the same circles as Voltaire. Voltaire collaborated with Rameau on three pieces, one of which is sadly lost. Rameau's interest in music theory makes sense in the context of Denis Diderot and the Encyclopedia. Rameau seems to have been seeking (with imperfect success) to establish a scientific basis for music.
If you are interested in learning about Rameau and his times, you will get a lot out of this book. But be advised, it's a long one!
Displaying 1 of 1 review