Rameau Acante Cephise Cossenko

The remarkable French harpsichordist Christophe Rousset tackles Rameau’s relatively unknown instrumental transcription of his popular opéra-ballet, Les Indes Galantes.
Christophe Rousset plays Rameau’s instrumental transcription of Les Indes Galantes on the stunning 18th century Jean-Henry Hemsch harpsichord. Public disapproval to the premiere of the opéra-ballet led to Rameau not only omitting the recitatives and its controversial passages, but to transcribing the whole work for instruments. He re-grouped the remaining pieces according to their keys into what he called ‘quatre grands concerts’ or concert suites.

The authority on Rameau in the Grove's Dictionary of Music and Musicians spent a lot of words on these pieces. All YOU have to know is that the usual "continuo" situation of the bass instrument playing the same notes as those found under the harpsichordist's left hand is not present here. This is not a suite with violin on top and bass viol for continuo - but "concerted" harpsichord pieces with the help of a violin and a bass viol. The first and last suites are my favorites, but if you think you like French baroque music, you will thoroughly enjoy the whole disc.

A new album of Rameau from Finnish accordionist Janne Valkeajoki presents a harmonious fusion of baroque brilliance and modern innovation. Renowned for his unparalleled contributions to Baroque opera, Jean-Philippe Rameau stands as one of the era's most important composers, and the brilliance of his compositions is now reimagined through a more modern lens. Through a unique and innovative approach, Rameau's meticulously crafted movements find new life with the accordion—an instrument that adds a fresh, vibrant layer to the music, bringing Rameau's innovative spirit into the contemporary realm and highlighting the accordion's versatility as both a singing and an orchestral instrument. This new album comprises two suites, each movement creating a unique atmosphere of its own. In an era where full suites are less commonly heard than individual movements, the album offers a rare opportunity to experience Rameau's work in its entirety, as he originally intended.

With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists.

Christophe Rousset in his two-CD set confines himself to the three principal collections of 1706, 1724 and c. 1728 additionally including La Dauphine (1747) and the charming but slight Les petits marteaux de M Rameau. This last-mentioned piece was until recently thought to be by Rameau's one-time pupil and champion, Balbastre.

Alexandre Tharaud pays tribute to composers associated with the courts of the French kings Louis XIV, XV and XVI. Lully, Rameau, Charpentier and François Couperin stand beside lesser-known masters: d’Anglebert, Forqueray, Royer, Duphly and Balbastre. “I’ve always been attracted by French music of this period,” says Tharaud, adding that when he plays the album’s initial Rameau prelude, “It’s like being alone at Versailles, opening the doors and entering those huge, imposing rooms.”

The lighter music of the splendid French Baroque remains in need of greater exposure, making this disc of cantatas by the young Jean-Philippe Rameau and André Campra a welcome arrival. Here is some of the music the royals and aristocrats heard not in halls of opera and ballet but in more intimate surroundings, for amusement, with one or two singers and a small instrumental grouping.

Cathy Krier - Rameau & Ligeti (2014) {Deutschlandradio / Avi Service for music, Cologne}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 189 Mb | MP3 @320 -> 153 Mb
Full Artwork @ 300 dpi (png) -> 76 Mb | 5% repair rar
© 2014 Deutschlandradio / Avi Service for music, Cologne | 8553308
Classical / Baroque / Contemporary Classical / Piano

In 2014 we celebrate Jean-Philippe Rameau s 250th anniversary. To highlight his wonderful compositions, this disc also presents works by 20th-century musical pioneer Ligeti. Rameau and Ligeti have a similar approach to generating music, and their short pieces are of similar drama and effect. Krier steers her own path between sentimental and spiky, with a bright, forthright tone. “Does it make sense to combine the music of a French Baroque master with avant-garde works written in the 1950‘s? Can one place these two composers – Jean-Philippe Rameau (1683-1764) and György Ligeti (1923-2006) – side by side? Do they have anything in common, and, if so, how can such traits be viewed from the vantage points of two entirely different centuries?