"Rameau self-published these pieces in Paris in 1741, and entitled them: 'Pièces de clavecin en concerts, avec un violon ou une flûte, et une viole ou un deuxième violon'. Rameau was 58 years old, and considered the master of French opera following 'Hippolyte et Aricie', composed in 1733. The works featured on this CD are therefore clearly from his mature period. [...]
"These are Rameau’s only chamber music works. The 'concerts' were published together with an accompanying 'Notice to concertgoers', a kind of program-note. Rameau acknowledged that it was 'the success of recent sonatas for harpsichord and violin' which encouraged him to try his hand at chamber music. He is probably referring to the 'Pièces de clavecin en sonates avec accompagnement de violon', published by Mondonville around 1734. In the aforementioned 'notice', Rameau is very specific about the effect he is looking for in the 'Pièces de clavecin en concerts': 'The quartet configuration should dominate most of the work,' he wrote. 'It is necessary not only that the sounds of the three instruments blend together, but also that the players hear one another clearly. Above all, the violin and the viol need to support the harpsichord, and clearly delineate accompaniment versus thematic material. An understanding of the character of each piece will lead to the necessary balance.' Rameau could not have been clearer. [...]
"The 'Pièces de clavecin en concerts' are a kind of link between the Italian trio sonatas and Bach's polyphonic trios. An example of the latter would be the trio sonata which concludes the 'Musical Offering'. Another example would be the keyboard sonatas – for harpsichord or pianoforte – with violin or ad libitum accompaniment which were developed considerably at the end of the XVIII century, especially in France. In this compositional style the keyboard has the lion’s share of the music, whereas the string instrument simply doubles the melody or punctuates the bass line. Invigorated by his experience in the theatre, Rameau frees himself from the framework forged by his Italians and French predecessors, and elaborates and expands the trio form. Each 'Concert' has an almost symphonic aspect, where the harpsichord is free of its conventional polyphonic function. Instead, it becomes a solo instrument in its own right alongside two partners which add luminous, complementary sounds." (From an interview of Bruno Procopio by Adélaïde de Place. Found in the liner notes.)
Performers: Bruno Procopio, Patrick Bismuth, François Lazarevitch, Emmanuelle Guigues
1. Premier Concert In C Minor: I. La Coulicam
2. Premier Concert In C Minor: II. La Livri
3. Premier Concert In C Minor: III. Le Vézinet
4. Deuxième Concert In G Major: I. La Laborde
5. Deuxième Concert In G Major: II. La Boucon
6. Deuxième Concert In G Major: III. L’Agaçante
7. Deuxième Concert In G Major: IV. Premier Menuet Et Deuxième Menuet
8. Troisième Concert In A Major: I. La Lapoplinière
9. Troisième Concert In A Major: II. La Timide
10. Troisième Concert In A Major: III. Premier Tambourin Et Deuxième Tambourin En Rondeau
11. Nouvelles Suites De Pièces De Clavecin: I. Allemande
12. Nouvelles Suites De Pièces De Clavecin: II. Courante
13. Nouvelles Suites De Pièces De Clavecin: III. Sarabande
14. Nouvelles Suites De Pièces De Clavecin: IV. Les Trois Mains
15. Nouvelles Suites De Pièces De Clavecin: V. La Triomphante
16. Quatrième Concert In B-Flat Major: I. La Pantomime
17. Quatrième Concert In B-Flat Major: II. L’Indiscrète
18. Quatrième Concert In B-Flat Major: III. La Rameau
19. Cinquième Concert In D Minor: I. Fugue La Forqueray
20. Cinquième Concert In D Minor: II. La Cupis
21. Cinquième Concert In D Minor: III. La Marais
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