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RAMEAURépertoire d'Autorités Matières Encyclopédique, Alphabétique et Unifié (French)
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It is telling, in this context, that Verba constantly prefers modern American theoretical terminology to Rameau's terms.
Like all Rameau's dramatic works, Les surprises de l'amour presents formidable editorial problems.
This was perhaps understandable since Rameau shorn of spectacle is inclined to drag, and, although this semi-staging was quite inventive and made good.
Sulzer's article "Accord" represents a second instance in which Kirnberger, who seems to have opposed Rameau's theories on general principle, could not have been the author.
But this glittering diva soprano, born in Bordeaux 300 years ago, unmatched for her artistry, was not only the muse of the great Jean-Philippe Rameau. She also inspired works by de Lalande and Lully, among others, and was the obsession of the besotted Louis XV of France.
The opening Sonata VIII in B flat by Handel for a quartet of instruments was followed by the G major Pieces de Clavecin by Rameau, the two contrasting compositions enabling the audience to discern the difference between the German and French style of music performance.
Rameau and throughout his final piano work, Les soirs illumines par l'ardeur du charbon.
Rameau: Dardanus and Le Temple de la Glorire, instrumental music.
The eighteen-member corps and three principal couples moved from courtly, mannered formality to fairly unbridled expressiveness in three well-defined sections set to excerpts from Jean-Philippe Rameau's operas Zais and Nais.
Jean-Philippe Rameau: Pieces de clavecin en concerts, ed.
Some historical documents that mention the Opera chorus lead us to believe that its size remained stable throughout Rameau's career - but information from the lists of performers included in printed librettos does not support this conclusion - and with some exceptions most sources provide little indication of how the parts were distributed within the chorus, since they mention only the total number of singers and not how many performed each part.
His essays, among them "Regrets sur ma vieille robe de chambre" ("Regrets over My Old Bathrobe") and "Entretien d'un pere avec ses enfants" ("Conversation of a Father with His Children"), based on personal experience, have the qualities of form and style of his short stories and novels: La Religieuse (1796; written 1760; "The Nun"), Jacques le fataliste (1796; written 1773), and Le Neveu de Rameau (Rameau's Nephew).