Jean-Philippe Rameau


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Synonyms for Jean-Philippe Rameau

French composer of operas whose writings laid the foundation for the modern theory of harmony (1683-1764)

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NEW YORK A New York City Opera presentation of the opera in two acts with music by Jean-Philippe Rameau and libretto by Adrien-Joseph Le Valois d'Orville after Jacques Autrea's play.
2 Jean-Philippe Rameau, Observations sur notre instinct pour la musique, Paris, 1754, p.
Set in a cafe in Paris, the work takes the form of a conversation between "Moi," a representative of the author, and "Lui," a young, cynical bohemian nephew of the French composer Jean-Philippe Rameau.
Likewise she tells us that Jean-Philippe Rameau had one piano in poor condition and several hundred of his manuscripts; what did the rest of his house look like?
141-49), linking his musical choices with Lully, Andre Campra, and Jean-Philippe Rameau.
Ainsi ont ete catalogues 20 recueils de musique vocale italienne (71 sur les 73 entres en 1978 avec la dation Chambure sont desormais catalogues), 19 manuscrits de Michel-Richard de Lalande (appartenant au fonds du Concert Spirituel) et completees (notamment par la saisie des incipits musicaux), l'ensemble des manuscrits de Jean-Philippe Rameau.
It is associated with composers such as Johann Sebastian Bach, Antonio Vivaldi, Jean-Baptiste Lully, George Frideric Handel, Arcangelo Corelliy, Claudio Monteverdi, Jean-Philippe Rameau and Henry Purcell.
Let them try this collection of love-music from the operas and vocal works of the great Frenchman Jean-Philippe Rameau, a highly imaginative composer as well as a brilliant theorist.
Platee, the title character of this eighteenth-century comic opera by Jean-Philippe Rameau, is a grotesque water nymph (played and sung brilliantly by tenor Jean-Paul Fouchecourt), who's so vain she aspires to an affair with chief god Jupiter, no less.
The 18th-century French writer Voltaire wrote a libretto for an opera entitled Samson by Jean-Philippe Rameau.
Admirers of Jean-Philippe Rameau are fortunate that the late-twentieth-century revival of his music, a revival that owes much to William Christie and Les Arts Florissants, has given rise also to equally flourishing scholarly literatures on both Rameau the composer and Rameau the theorist.
Bach (Versuch u'ber die wahre Art das Clavier zu spielen, 1753/1762), Francois Couperin (L'art de toucher le clavecin, 1716 and 1717), Johann Nicolaus Forkel (Uber Johann Sebastian Bachs Leben, Kunst, und Kunstwerke, 1802), Friedrich Wilhelm Marpurg (Die Kunst das Clavier zu spielen, 1750/1755), Johann Joachim Quantz (Versuch einer Anweisung die Flote traversiere zu spielen, 1752), and Jean-Philippe Rameau (Dissertation, 1732); she also includes material on well-known performers: Johann Sebastian Bach, Jacques Champion de Chambonnieres, Louis Couperin, and Johann Jacob Froberger.
Next year marks the 250th anniversary of the death of the great French Baroque composer, Jean-Philippe Rameau (1683-1764).
The vivid music of Jean-Philippe Rameau, encompassing both brilliance and tenderness, brings all Sampson's gifts into play in this enchanting sequence of 'love songs from the operas' as the pretty cover describes it.
Opera Atelier, primarily a company devoted to baroque music theater, presented an opera-ballet by Jean-Philippe Rameau, a dramatic dialogue ("scenelyrique") by Jean-Jacques Rousseau, both mid-eighteenth century, in juxtaposition to a Roland Petit choreography of 1946.