Release Date: 12 January 1999
Label: Naxos - Nxc / Naxos Classics
Packaging Type: Jewel Case
No of Units: 1
Barcode: 730099474627
Genres: Classical
Composer/Series: RAMEAU
Description
Jean-Philippe Rameau (1683-1764) Rameau at the Ch?óteau of Fontainebleau (1753-1754) Orchestral Suites Vol. 2 Anacreon Daphnis et EgleThe two suites of orchestral music heard on this recording are takenfrom operas composed by the celebrated French composer Jean-Philippe Rameau,for presentation before the court of Louis XV at the ch?óteau of Fontainebleauin 1753 and 1754. Each autumn the French court travelled to this palace to stayfor about six weeks. Here they hunted by day and were entertained by leadingmusicians and actors at night. Indeed, when the country's finances permitted,such trips resulted in a showcase for the performing arts symbolic of thewealth, power and magnificence of both the court and the country at large.Thus, the opportunity to present new works at Fontainebleau was a signal honourfor any composer. These occasions were particularly important for Rameau, whosecareer in Paris had recently undergone several reversals. Performances of hisoperas had been sharply curtailed at the Paris Opera; his name had been bandiedabout in the controversy surrounding the presentation of Italian opera inParis, and the relationship with his patron of long standing was coming to anend. [For further details on these events, see the notes accompanying Naxos8.553388, "Rameau: Orchestral Suites, Vol. 1," where plotdescriptions of the two operas discussed below can also be found.] The Fontainebleau entertainments of 1753 were ordered by the duc deRichelieu, and they constituted a lavish programme of older and new workslasting from 16th October until 22nd November. The theme of love disguised asfriendship figured prominently in many of the new works ordered for 1753. Thistheme appears to have been an allegorical allusion to Louis XV and Mme dePompadour, who claimed that they had not been lovers since 1751. Rameau wasasked to present three new works, Daphnis etEgle, Lisis et Delie and LesSibarites. Only Les Sibarites containedno obvious references to the allegory. If Rameau hoped that these works wouldhelp secure his position at court (and win the favour of the powerful Mme dePompadour, in particular), it was not to be. Objections to the choice ofentertainments began following the second evening in the court's theatre, aperformance of Boursault's Le Mercure galant(1683). Queen Marie, who had attended this performance with herdaughters, was scandalized by the play, and she complained at length to deRichelieu. As a result, he scrutinized the chosen entertainments carefully andcancelled several new works, including Lisiset Delie. Furthermore, it remains unclear if Daphnis et Egle was performed again afterthe dress rehearsal. In the process, all references to love disguised asfriendship disappeared from the list of entertainments. The score to Lisis et Delie is now lost; that of Daphnis et Egle was never published, andit remains one of Rameau's least known works. The music of Daphnis et Egle hasfar greater significance than does its weak, pastoral libretto w
Tracklisting
Dariia Lytvishko
Baltimore Symphony Orchestra; Marin Alsop
Alice Di Piazza; Basel Sinfonietta; NDR Bigband; Titus Engel
Anna Alas i Jove; Miquel Villalba
David Childs; Black Dyke Band; Nicholas Childs
Goran Filipec
Fukada/Watani
Ferrero/Socias
