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Mii <n Guild JEAN PHILIPPE RAMEAU (1683-1764)

SIX CONCERTS EN SEXTUOR a

(Six Concerts for Sextet)

Sic 5 KD A DIVISION OF

WESTMINSTER RECORDING CO., INC,

SIDE ONE SIDE TWO Band one: First Concert

La Coulicam—La Livri—Le Vézinet

Band two: Second Concert

La Laborde—La Boucou—L’A gacante— Menuets I & II

Band three: Third Concert

La Popliniére—La Timide— Tambourins I & II

In 1683, two years before the birth of Bach, Jean- Philippe Rameau, the seventh child of a cathedral organ- ist, was born in Dijon, France. He studied the organ, harpsichord and violin, and, after a brief trip to Italy, joined a band of itinerant musicians. He traveled with this group all over Southern France until he obtained his first post as organist, in Marseilles. He was subsequently employed in a number of cities, among them, Clermont, Dijon and Paris, where he settled permanently in about

6:38 Band one: Fourth Concert 5:52

La Pantomine—L Indiscréte—La Rameau

11:18 Band two: Fifth Concert 8:40

La Forqueray—La Cupis—La Marais Band three: Sixth Concert 12:06

10:26 La Poule—Menuets I & II—

L’Enharmonique—L’Egyptienne

Chamber Orchestra of Toulouse

Louis Auriacombe, conductor

sonata form; the theme is more here than a docile re- sponse to the beginning.

Like the following piece, La Livri, which is probably intended to evoke the country near Paris where Rameau liked to visit his family, is a gracious rondeau in C minor. The first and third violins exchange the theme, and then the second violin and viola reinforce its light character with syncopated accompaniment. This rondeau is similar to one in Rameau’s Zoroastre.

Two themes, easily distinguished, follow a sketchy de- velopment and divide this Pantomine into two parts. The following piece, L’Indiscréte, is a rondeau whose refrain

comes back three times, cut into by the two interpolations. If the rapid design of the theme in the first and third violins recalls a bit the whispering from La Timide, * does not establish itself in minor, but is kept in B flat major of the first piece and confined to the basses. La Rameau which finishes the concert is probably a portrait

1723. By this time he had already written his principal Le Vézinet; The rapid and simple ascending C major of the wife of the musician, but could also well be con- al theoretical work, the controversial “Traité de l’Harmonie” scale in the first violin and in the cello against accompani- sidered, because of its form, the overture of one of the as and had composed extensively in various forms. By 1724 ment based on the three notes (G-C-E) of the fundamental —_ concerts. 4 he had published his second book of harpsichord pieces. chord of C major provide both the point of departure and Band two: Fifth Concert 3 Rameau published his first chamber music, five suites of the germ of the third piece, typical of Rameau’s style in The three movements in this concert all are entitled | Piéces de clavecin en Concert in 1741. The composer was its apparent simplicity. with the names of musicians, instrumentalists, and con- a

well-known for several operas and for his harpsichord mu- _ Band two: Second Concert temporaries of Rameau. Is it again a question of sketching “4 sic, but in spite of the brilliant success of the suites he It is composed of four pieces. La Laborde, the first, in _ portraits of wives of colleagues, or is it more of an homage q did not write any more chamber music, since he was too G major, was inspired by the character of Mme. de to some musician-friends and accordingly, to music itself? " absorbed in his dramatic works and his research in music Laborde, wife of the king’s-chamberlain: and’ friend of The richness of the dialogue and the intensity of this Fifth = nue b eo ee Tie ae ees Rameau. Here also, as in La Coulicam, a second theme is Concert would enforce the possibility of the second of the : Cer eae ial Pick a Pega ah hy presented in the dominant after the exposition of a first hypotheses. La Forqueray, the first piece, is primarily a 4

ichord, violin (or flute), and viola d ba ( theme by the sextet which is separated into two groups. fugue but developed differently. It leans toward D minor, j oe cael “] v10) a a ke > a bi VIO) a da Fb nae The second piece, La Boucou, takes its name from one of but is not concerned with tonal stability and transforma- ; oa a 1 Seon ae ae ee oom Skee canine ae Rameau’s pupils, the future Mme. Mondonville. It is an tion of a fugue. La Cupis, also in D minor, is based on a ;

gle : 4 7"7,:.. Andante in G minor, whose theme is repeated several ternary rhythm well enforced by the bass. The first and : and two basses) was published after Rameau’s death. It is times, each time in a different tonality. Completely in third violins outline the first idea, which is followed quick- 4 ene eer thet pene ie Bee peas contrast with the preceding L’A gacante, the theme is pre- ly by the second violin and violas with two similar (re- ‘ ment himself eee rvised it, since it most probably was sented in two parts (in G major) against which the basses lated) motives. La Marais, in D major, seems at first hear- 4 performed during his lifetime. He also arranged the same grumble. L’Agacante, like La Livri, was repeated by Ra- _ing more effective than La Cupis, the dialogue, however, 4 wae a ae aes site TBs ae © sets/Of arrangements “© Fay in Z oroastre. The two Menuets which follow, one never stops for the preceding, and its color is typical of F ee the eee o the eal ie which was added eh a ag Pe oe ee ey A later. It was taken from the Nowvelles Suites for harpsi- gaiieg with te meleachaly ot sie seond. Band three: Sixth Concert a chord which were written between 1728 and 1731, The Band three: Third Concert La Poule, which begins the Sixth Concert, is an arrange- Fr arrangement for sextet dates from four years after Ra- The first theme seems to move with all the ease of a Ment of a piece of the same title, well-known in the origi- 3 meau’s death. great lady of the world and is named for La Popliniére, nal version for harpsichord. Its theme (in G minor), a ie

Conceived in the same spirit and style as the Piéces de _ devoted to honoring the wife of the patron of Rameau. _—_ roll imitation of the gossiping of the hen, determines the 4 Clavecin, some of the pieces of the Pieces en Concert ate A second theme in the dominant borders on the tone of Piece; this descriptive piece, imitative to a supreme de- made up of several sections based on particular rhythms simple conversation punctuated by the pizzicato accom- gtee, is a tare example in Rameau’s work which is not q as in the traditional French suites, and other ones resemble paniment and completes the portrait. La Timide, which cultivated further : Two graceful Menuets, one in G major, q the “concerts” in the Italian style with three movements: contrasts with La Popliniére, expresses itself in A minor. the other in G minor, serve as a transition to L’Enhar- one slow movement, here “gracieux,” surrounded by the _It is subdued behind the whispering strings and seems, in ”0#que, a daring piece for the era. Chromatic, enhar- ; two quicker movements, the last approaching the form _the second part of the Rondeau, to excuse itself for impos- | ™onic, and with intervals of diminished thirds, the piece q of a rondeau. ing its presence. The second Rondeau shows a great unity 4stonished many of the musician’s contemporaries. 4 SIDE ONE with the preceding in the accompaniment of its theme, The very vibrant Egyptienne ends the Sixth Concert, §

: but it is heard in major and stands out above the com- _— Which is in part, a dialogue for two voices. New motives | Band one: First Concert plexities of its colleagues. are developed immediately; one theme at least, a slow = The Coulicam is the only mysterious title among those Two Tambourins, with obvious relationships to other 8Cent of the scale in equal note values, shows that the a

of the Piéces en Concert. Perhaps it is a simple deforma- themes, end this concert with a note of good popular __ lyricism of Rameau could occasionally be considered equal a tion of Koulikhan, legendary hero of Iran, whose imagi- ietenine to that of Bach. 4 nary adventures have been made the object of numerous a poems. Or it might be an anagram which conceals the name of a person known to Rameau. This first piece in C minor, carried off roundly aside from its vivacious theme, seems to outline a second theme, as in the future

SIDE TWO

Band one: Fourth Concert

The first piece, La Pantomine (in B flat major), is built on a rhythm of “Loure,” a dance similar to the musette.

Recorded by Club Francais du Disque

Mastering: Claude Rie

Liner notes: Adapted from notes of Club Francais du Disque

Made in U.S.A.

Library of Congress Catalog Card No.

R65-2031 (Mono)/R65-2032 (Stereo)