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| 让-菲利普.拉摩（Jean-Philippe Rameau，1683——1764） | |||||||||||||||||||||||
| 让-菲利普·拉莫歌剧《希波吕托斯与阿里奇埃》 | |||||||||||||||||||||||
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2012年，巴黎国家歌剧院 让-菲利普·拉莫:希波吕托斯与阿里奇埃 2012年巴黎国家歌剧院 演员: 莎拉·康诺利(费德尔), Anne-Catherine吉莱(Aricie), 安德里亚·希尔(黛安) Jael Azzaretti (L'Amour / Une Pretresse / Une Matelote)， 莎乐美哈勒(俄诺涅), Marc Mauillon(提西福涅), Aurelia Legay (La Grande Pretresse de Diane / Une Chasseresse / Une Pretresse)， 遮阳帽Lehtipuu(希波吕忒), Stephane Degout (Thesee), 弗朗索瓦·里斯(普卢顿/朱庇特)， Aimery Lefevre (Arcas / Deuxieme Parque) 曼努埃尔努涅斯卡米洛诺(Un Suivant / Mercure)， 杰罗姆·瓦尼尔(Neptune / Troisieme Parque) 阿斯特里音乐会乐团 指挥:艾曼纽·哈伊姆 导演:伊万亚历山大 |
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Cast:Jean-Philippe Rameau -
Hippolyte et Aricie 2012, Opéra national de Paris Sarah Connolly (Phèdre), Anne-Catherine Gillet (Aricie), Andrea Hill (Diane), Jaël Azzaretti (L'Amour / Une Prêtresse / Une Matelote), Salomé Haller (Oenone), Marc Mauillon (Tisiphone), Aurélia Legay (La Grande Prêtresse de Diane / Une Chasseresse / Une Prêtresse), Topi Lehtipuu (Hippolyte), Stéphane Degout (Thésée), François Lis (Pluton / Jupiter), Aimery Lefèvre (Arcas / Deuxième Parque), Manuel Nuñez Camelino (Un Suivant / Mercure), Jérôme Varnier (Neptune / Troisième Parque) Ensemble Le Concert d'Astrée Conductor: Emmanuelle Haïm Director: Ivan Alexandre |
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音乐历史上的今天
1764年9月12日，80岁的法国作曲家、理论家让-菲利普.拉摩（Jean-Philippe
Rameau）去世。他一生风光却不为人爱戴。“他的心和灵魂都在其羽管键琴上。”一个熟人说道，“当他一闭眼，家里就空空如也。”
拉摩认为理论研究与作曲同样重要，对这一点他至死都坚持不渝。从1732年到他生命的终结，他所创作的书籍、论文和歌剧总是源源不断地出版。奇怪的是他从不阅读自己所写的书，却很乐意欣赏自己的音乐，然而，他却更希望自己所提出的理论被大家认同，并且更喜欢自己被称为一名
思想家而不是作曲家。在他的晚年，随着自己创作源泉的枯竭，他告诉夏巴农（Chabanon），自己很后悔把时间投入到了作曲当中，因为他更乐意将这些时间用在研究自己的艺术原理上。拉摩获得了应该得的赞誉，他的两部著作《和声的形成》
（Generationharmonique）和《和声原则的论证》
（Demonstrationduprincipedel’harmonie）被呈送到艺术学科协会，并受到了极高的评价。德·阿朗贝尔（D’Alembert）以比原作更为通俗的方式，在《音乐理论与实践的要素——依据拉莫先生的原则而作》
（ElementsdemusiquetheoriqueetpartiqueselonlesprincipesdeM.Rameau，1752）一书中对这两部著作进行了概括。他同样很重视国外专家的意见，这些专家有伦敦的汉斯·斯隆（HansSloane），年轻一些的有居住在巴塞尔的让·伯努利（JeanBernoulli）、柏林的奥伊勒（Euler）、波伦亚的帕德雷·马尔蒂尼（PadreMartini），在这些人中，并非所有的人都给予他很高的评价。他同卡斯特尔教父（FatherCastel）进行过激烈的争论，后者是羽管键琴上用色谱校正音律的装置（clavecinoculaire）的发明者，也是拉摩最早的支持者之一，但是后来，他却成了一位言辞激烈的评论家，他和德·阿朗贝尔一起，对拉摩的作品从支持转向了批评。此外，他还因1745年在拉·布普里尼耶的家中听到卢梭（Rousseau）的《优雅的缪斯》
（Musesgalantes）后语出不敬，而得罪了这位大人物，卢梭对此一直耿耿于怀。他还抨击了在德·阿朗贝尔与卢梭于1755年至1760年为《百科全书》写作的几篇关于音乐的文章，为此他又得罪了德·阿朗贝尔。另一方面，他却对建筑家兼作家夏尔·艾蒂安·布里瑟于格（CharlesEtienneBriseux）赞赏有加，而后者也与之持同样的一些观点。 |
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| 让-菲利普.拉摩（Jean-Philippe Rameau） | |||||||||||||||||||||||
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让-菲利普·拉莫（Jean-Philippe
Rameau）（受洗于1683年9月25日，法国第戎，卒于1764年9月12日，巴黎），巴洛克时期后期的法国作曲家，今天以大键琴音乐，歌剧和其他戏剧风格而闻名，但在他的一生中也以音乐理论家而闻名。 拉莫的父亲让（Jean）在第戎的各个教堂里演奏风琴已有42年之久，并希望有一天能看到他的儿子坐在律师而不是管风琴演奏者的长凳上。这些希望因男孩在学校的糟糕表现而破灭。据说他17岁时，他爱上了一位年轻的寡妇，这位寡妇嘲笑他写给她的信中的语法和拼写错误。他试图完善自己的语言，但从他后来的理论著作的冗长程度来看，他的努力并没有取得永久性的进步。18岁时，他决定开始自己的音乐生涯，他去了意大利，但似乎只去了米兰。次年，他被任命为法国中部多个城市的风琴师，其中包括阿维尼翁、克莱蒙特、第戎、里昂。在首都有一段短暂的插曲，但显然巴黎并没有立刻喜欢这位外省的风琴手，尽管他曾于1706年在巴黎出版过一套精美的羽管键琴小调组曲《一级克拉维琴》(Premier livre de clavecin)。这些作品显示了Louis Marchand的有益影响，Louis Marchand是当时著名的风琴手和拨弦手，他对拉莫的演奏非常赞赏。 |
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| 让-菲利普.拉摩（Jean-Philippe Rameau） 最著名著作《和声学》（Traitedel’harmonie） | |||||||||||||||||||||||
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Jean-Philippe
Rameau, (baptized September 25, 1683, Dijon, France—died September 12,
1764, Paris), French composer of the late Baroque period, best known
today for his harpsichord music, operas, and works in other theatrical
genres but in his lifetime also famous as a music theorist. Rameau’s father, Jean, played the organ for 42 years in various churches in Dijon and hoped one day to see his son on a lawyer’s, rather than an organist’s, bench. These hopes were dashed by the boy’s deplorable performance in school. At the age of 17 he is said to have fallen in love with a young widow who laughed at the errors of grammar and spelling in his letters to her. He tried to refine his language, but, to judge by the prolixity of his later theoretical writings, his efforts resulted in no permanent improvement. At the age of 18, after deciding to pursue a musical career, he traveled to Italy but seems to have gotten no farther than Milan. The following year, he received the first of a series of appointments as organist in various cities of central France: Avignon, Clermont, Dijon, Lyon. There was a brief interlude in the capital, but apparently Paris did not take an immediate fancy to the provincial organist, in spite of his having published there a fine suite of harpsichord pieces in A minor, Premier livre de pièces de clavecin (1706). These works show the beneficial influence of Louis Marchand, a famous organist-harpsichordist of the day whose playing Rameau greatly admired. Back in Clermont by 1715, Rameau rashly signed a contract to be cathedral organist for 29 years. He then settled down to investigate, in an exhaustive and highly original manner, the foundations of musical harmony. He attacked traditional theory on the ground that “The Ancients,” who to Rameau included such relatively recent writers as the 16th-century Italian Gioseffo Zarlino, “…based the rules of harmony on melody, instead of beginning with harmony, which comes first.” Intuitively basing his studies on the natural overtone series, he arrived at a system of harmony that is the basis of most 20th-century harmony textbooks. Finally published in Paris in 1722, his impressive Traité de l’harmonie (Treatise on Harmony) brought him fame at last and a yearning to return to the capital. |
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| 拉莫另外一部力作《和声原则的论证》 （Demonstrationduprincipedel’harmonie） | |||||||||||||||||||||||
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| 让-菲利普.拉摩（Jean-Philippe Rameau） 的雕塑局部 | |||||||||||||||||||||||
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拉莫于1715年回到克莱蒙（Clermont），草率地签署了一份成为大教堂风琴手的合同，为期29年。然后，他静下心来，以一种详尽而极具独创性的方式，研究音乐和谐的基础。他抨击传统理论的理由是，古人把和声规则建立在旋律上，而不是以和声开始，而和声首先出现。拉莫认为古人包括16世纪的意大利作家乔瑟夫·扎里诺。他直观地以自然泛音系列为研究基础，得出了一个以20世纪大多数和声教科书为基础的和声体系。他那令人印象深刻的《和谐论》于1722年在巴黎出版，最终使他声名鹊起，并渴望回到巴黎。
通过对自然泛音系列的直观研究，他得出了一种和声系统，它是20世纪大多数和声教科书的基础。最终于1722年在巴黎出版，他令人印象深刻的《和声》（Treatise
on Harmony）最终使他成名，并渴望回到首都。 |
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Back in Clermont
by 1715, Rameau rashly signed a contract to be cathedral organist for 29
years. He then settled down to investigate, in an exhaustive and highly
original manner, the foundations of musical harmony. He attacked
traditional theory on the ground that “The Ancients,” who to Rameau
included such relatively recent writers as the 16th-century Italian
Gioseffo Zarlino, “…based the rules of harmony on melody, instead of
beginning with harmony, which comes first.” Intuitively basing his
studies on the natural overtone series, he arrived at a system of
harmony that is the basis of most 20th-century harmony textbooks.
Finally published in Paris in 1722, his impressive Traité de l’harmonie
(Treatise on Harmony) brought him fame at last and a yearning to return
to the capital.
Authorities in
Clermont were loath to let him go, and the story of his release reveals,
as do his own writings and other evidence, something of his thorny
personality, his persistence, and his single-mindedness. At an evening
service he showed his displeasure with the church authorities by pulling
out all the most unpleasing stops and by adding the most rending
discords so that “connoisseurs confessed only Rameau could play so
unpleasingly.” But, after his release from the contract, he played with
“so much delicacy, brilliance, force and harmony, that he aroused in the
souls of the congregation all the sentiments he wished, thereby
sharpening the regret with which all felt the loss they were about to
sustain.” |
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| 很少见的让-菲利普.拉摩（Jean-Philippe Rameau)侧身像 | |||||||||||||||||||||||
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当时他最有影响力的人是勒里奇·德·拉·普普利尼埃（Le
Riche de
laPouplinière），他是法国最富有的人之一，也是有史以来最伟大的音乐赞助人之一。拉莫（Raueau）担任拉波普利涅（LaPouplinière）出色的私人乐团的负责人，任职22年。他还教了这位金融家的才华横溢和音乐般的妻子。这位作曲家的家人最终搬进了LaPouplinière的城镇豪宅，并在Passy的城堡度过了夏天。在LaPouplinière与妻子分居后，赞助人与作曲家之间的田园诗般的关系逐渐终结，Rameau被年轻，前卫的作曲家Karl
Stamitz所取代。然而，与此同时，拉波普妮埃（LaPouplinière）圈子的入场使拉美（Raueau）接触了各种各样的文学艺术。雅培·佩勒格林（AbbéPellegrin）的圣经歌剧《耶夫特》（Jephté）在1732年被拉莫的竞争对手米歇尔·德·蒙特克莱尔（Michel
deMontéclair）成功地定型为音乐，他将成为拉梅的自由主义者，因为他的第一部也是许多最出色的歌剧《希波吕特与爱丽丝》。它首先在1733年春天在LaPouplinière的家中进行，然后在秋天在歌剧院（Opéra）进行，并于1734年在法院进行了表演。安德烈·坎普拉（AndréCampra）也许是当时最著名的法国作曲家，对孔迪王子说：“我的主，这首歌剧中有足够的音乐来演奏十首；这个人会让我们所有人黯然失色。” 在某些耳边，确实有太多音乐。那些因让·巴蒂斯特·卢利（Jean-Baptiste Lully）的歌剧而长大的人，对拉美编排的复杂性，与之相伴的朗诵活动（类似演讲的部分）以及他丰富而常常是不和谐的和声感到困惑。然而，拉梅本人在《 Les Indes galantes》的序言中称赞了他的前任，赞扬了“伟大的Lully朗诵中的美丽的夸张和措辞的转变”，并说他试图模仿它。 ，尽管不是“卑鄙的抄写员”。确实，至少从技术上讲，拉莫歌剧中的几乎所有东西在卢利中都有先例。然而，他作品的内容，丰富的戏剧对比，管弦乐队的精彩片段，以及最重要的是，渗透着感性的忧郁和忧郁的田园气息，使他处于另一个世界：简而言之，洛可可世界路易十五。 在希波吕特（Hippolyte）首场演出中的是伟大的伏尔泰（Voltaire），他打趣说拉梅（Raueau）“是一个不幸的人，比卢利（Lully）知道更多的音乐”。但是他很快走到了拉美的身边，为他写了一封精美的歌词，Samson，表面上是出于宗教原因而被取缔的，但实际上是因为反对伏尔泰的阴谋。音乐丢失了。但是，他们后来在两个繁华的法庭娱乐节目上的合作得以保留：La Princesse de Navarre和Le Temple de la Gloire（均为1745年）。前者由让·雅克·卢梭（Jean-Jacques Rousseau）浓缩并修订为《 LesFêtesde Ramire》（1745年）。 卢梭，让·朗德·阿朗伯特（Jean Le Rond d'Alembert）和其他与丹尼斯·狄德罗（Denis Diderot）的《百科全书》相关的作家开始都是热心的拉美发烧友，但到了1750年代中期，随着他们越来越热爱意大利音乐，他们逐渐反对了他。拉莫（Reauau）像任何人一样欣赏新的意大利音乐，但是他以这种风格创作的作品，例如《 LesFêtesde Polymnie》（1745年）和他的最终作品《 Abaris ou lesBoréades》（1764年）的序曲，个性的标志。 可以说，拉姆奥的职业生涯顶峰涵盖了从1748年开始的短暂时期，当时他在八天之内抛弃了杰作《皮格马利翁》，并在董事会中创作了其他六部歌剧，直到1754年，他写了《 La Naissance d'Osiris》（《奥西里斯（Osiris）的出生”），代表路易十六的未来。此后，随着流行的音乐风格逐渐被人们称为“古典音乐”，他的名声逐渐减弱。公众喜欢与拉莫的深刻情感和浓郁的巴洛克晚期和谐简单融合的动听音乐。 |
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His most
influential contact at this time was Le Riche de la Pouplinière, one of
the wealthiest men in France and one of the greatest musical patrons of
all time. Rameau was put in charge of La Pouplinière’s excellent private
orchestra, a post he held for 22 years. He also taught the financier’s
brilliant and musical wife. The composer’s family eventually moved into
La Pouplinière’s town mansion and spent summers at their château in
Passy. This idyllic relationship between patron and composer gradually
came to an end after La Pouplinière separated from his wife, and Rameau
was replaced by the younger, avant-garde composer Karl Stamitz.
Meanwhile, however, admittance to La Pouplinière’s circle had brought
Rameau into contact with various literary lights. Abbé Pellegrin, whose
biblical opera Jephté had been successfully set to music by Rameau’s
rival Michel de Montéclair in 1732, was to become Rameau’s librettist
for his first and in many ways finest opera, Hippolyte et Aricie. It was
first performed in the spring of 1733, at La Pouplinière’s house, then,
in the autumn, at the Opéra, and in 1734 it was performed at court.
André Campra, perhaps the most celebrated French composer of the time,
remarked to the Prince de Conti: “My Lord, there is enough music in this
opera to make ten of them; this man will eclipse us all.” To some ears there was, indeed, too much music. Those who had grown up with the operas of Jean-Baptiste Lully were baffled by the complexity of Rameau’s orchestration, the intensity of his accompanied recitatives (speechlike sections), and the rich and often dissonant diversity of his harmonies. Rameau himself, however, professed his admiration for his predecessor in the preface to Les Indes galantes, in which he praised the “beautiful declamation and handsome turns of phrase in the recitative of the great Lully,” and stated that he had sought to imitate it, though not as a “servile copyist.” Indeed, almost everything in Rameau’s operas has, at least technically, a precedent in Lully. Yet the content of his works, the rich dramatic contrasts, the brilliant orchestral sections, and, above all, the permeating sensuous melancholy and languorous pastoral sighings, put him in a different world: in short, the Rococo world of Louis XV. Among those at the first performance of Hippolyte was the great Voltaire, who quipped that Rameau “is a man who has the misfortune to know more music than Lully.” But he soon came around to Rameau’s side and wrote for him a fine libretto, Samson, which was banned ostensibly for religious reasons but really because of a cabal against Voltaire; the music was lost. Their later collaboration on two frothy court entertainments is preserved, however: La Princesse de Navarre and Le Temple de la Gloire (both 1745). The former was condensed and revised as Les Fêtes de Ramire (1745) by Jean-Jacques Rousseau. Rousseau, Jean Le Rond d’Alembert, and other writers associated with Denis Diderot’s Encyclopédie began as ardent Rameau enthusiasts, but, by the mid-1750s, as they warmed more and more to Italian music, they gradually turned against him. Rameau appreciated the new Italian music as much as anyone, but the works he composed in this style, such as the overtures to Les Fêtes de Polymnie (1745) and to his final work, Abaris ou les Boréades (1764), do not bear the mark of individuality. The zenith of Rameau’s career may be said to have encompassed the brief span from 1748, when he tossed off the masterpiece Pygmalion in eight days and had six other operas on the boards, through 1754, when he wrote La Naissance d’Osiris (“The Birth of Osiris”) for the birth of the future Louis XVI. Thereafter, his fame diminished, as the prevailing musical style became what is now generally called “Classical.” The public preferred catchy tunes with simple harmonies to Rameau’s profound emotion and rich, late-Baroque harmony. |
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让-菲利普.拉摩（Jean-Philippe
Rameau)的歌剧《希波吕托斯与阿里奇埃》 唱片封面 |
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| 拉摩（Jean-Philippe Rameau)的歌剧《希波吕托斯与阿里奇埃》介绍 | |||||||||||||||||||||||
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让-菲利普·拉莫（Jean-Philippe
Rameau）是法国伟大的巴洛克作曲家、音乐理论家。他是继让-巴普蒂斯特·吕利之后最伟大的法国歌剧作曲家，不但是当时法国乐坛的领军人物，还是和声理论的重要奠基人。拉莫的歌剧，尤其是他早期的歌剧作品在很大程度上遵循着吕利所创立的法国歌剧的创作模式与传统，但是他并没一味地模仿，而是把自己独特的作曲风格完美地融入到歌剧创作中，并且为后来的法国歌剧创作提供了新的典范。1732年，拉莫完成了他的第一部歌剧代表作《希波吕托斯与阿里奇埃》（Hippolyte
et
Aricie）。音乐史学家们普遍认为，这部歌剧是18世纪早期法国歌剧的代表作之一，体现了拉莫歌剧创作的成熟并展示了拉莫的创作风格。在歌剧创作中，他非常善于运用和声色彩来提升音乐的敏感性、加强音乐的表现力。而在他之前的歌剧作曲家们并没有十分清楚的认识到这一点。但在当时，这部歌剧并没有受到法国观众的一致好评，反而引起了很多人对拉莫歌剧创作风格的争论。 把古时的表演方式予以实践来作为一种创新的手段看似矛盾，然而这种仿古的概念自20世纪80年代以来就已存在，并且现在比以往任何时候都更加蓬勃发展。这版巴洛克作曲家拉莫的歌剧《希波吕托斯与阿里奇埃》于2012年在巴黎国立歌剧院上演，获得了极大的赞誉，这版制作既采用了复古的舞台布景与服化道，歌唱家与音乐家还运用了古老的歌唱技巧与巴洛克时期的乐器。之所以这样，是因为比起名为先锋实为停滞的极简主义和“现代版”的制作，这种充满诚意的旧式演绎或许更能打动观众。音乐评论家们认为，来自过去时代的灵感或许就是今天真正的创新所萌发之处。 并且，这为今日艰难生存的众多歌剧院们提供了一种新的茁壮成长的方式，毕竟时至今日，歌剧的地位可能不再那么重要了。 |
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| 让-菲利普.拉摩（Jean-Philippe Rameau)的研究在不断引起人们的重视 | |||||||||||||||||||||||
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Today in the
history of music September 12, 1764, 80-year-old French composer and theorist Jean-Philippe.Jean-philippe Rameau died.He lived a charmed life."His heart and soul are on his harpsichord."An acquaintance said, "When he closes his eyes, the house is empty." Jean Philippe Rameau (1683 ~ 1764) was a French opera master.Rameau was a master of late growth. At the age of 50, he produced his first opera, Hippolytus and Aririche. By the end of his opera, Northerner, he had written nearly 30 operas in only 31 years. Jean Philippe Rameau's music, whether of opera or harpsichord, exudes a rich variety of colors, and is more varied, full, and atmospheric than Lv's.His opera is particularly grand, luxurious and delicate, with ups and downs of drama, and vivid performance, pay attention to the overall sense of opera, as well as the description of orchestral music, especially the vivid description of earthquake, lightning and thunder, and storm, giving people an immersive shock. His "The Gallant Indian" is one of the most beautiful ballet operas with four funny stories.The Generous Turk tells the story of a Turk who returns to a beautiful Christian slave girl his lover.The Inca in Peru: Fani, the Princess of the Inca kingdom, decides to follow his lover after learning that he is a rogue.Flowers, Festival of Persia: The story of two Persian couples who get back together after many misunderstandings;The Barbarian: Chima, an Indian princess, is indifferent to her foreign suitors and faithful to her lover. Castor and Polyeus, another famous opera, is heavy and poetic, both in plot and music.The story is from ancient Greek mythology. It tells the story of Jupiter, the god of heaven, who was moved by the brotherly love between Castor and Polyus and ascended to the sky as the twin signs of The zodiac. Lamo's harpsichord is also outstanding, including various baroque dance forms with novel titles, such as "Indifference", "Birdsong", "gentle moans", "The Fool of Solognay", "Talk of the MUSES", "The Vortex", "Cyclops", "Three Hands", "Shy", "bold" and so on.He is also the author of the famous book and Acoustics. French music was dated after Lamour until Berlioz (1803-1869) was born. The life situation Jean-philippe Lamour (Rameau) was born in Dijon on 25 September 1683 and died in Paris on 12 September 1764.He is the greatest composer of the baroque period French and theorists, and johann Sebastian Bach (J.S.B ach, 1685-1750), Handel (Handel, 1685-1759), beautiful nico Scarlatti (D.S carlatti, 1685-1757) and Taylor (1681-1767) Te lemann, life at the same time, but not at that time, France's leading music - especially in the aspect of music drama, or important founder of harmony theory. Lamo's father was an organist of Saint-Etienne of Dijon, and the first musician of the family;His mother, Cladina Demadina Coote, came from a less privileged aristocratic family in the village near Zemax.Jean-philippe was the seventh of eleven children.He was sent to the Jesuit Academy in Gomes, where he spent more time singing and composing than studying.In 1702, he became temporary organist at Avignon Cathedral;In May, he was appointed organist at Clermont Cathedral.It was not until 1706 that he arrived in Paris and became an organist at the Jesuits of the Boulevard Saint-Jacques and at Mercedes DE Leon of the Avenue DE Chaume, where he published his first collection of harpsichord compositions.In 1709, Lamour returned to Dijon and succeeded his father at Notre Dame;In July 1713 he played the organ at The Jacobin in Lyon, and in April 1715 he returned to Clermont Cathedral, where he spent another eight years.To secure his freedom before the end of his contract, he drove himself to the limit at one dinner party: first by refusing to play, then by plucking all the most unpleasing bolts on the organ and adding as many dissonances as possible.He returned to Paris in 1722 or early 1723 and settled there after the priests had given him permission to leave.At Lyons and Clementine, he had already produced several sutras and secular Cantatas, and completed his first book, the Traitedel 'Harmonie, published by Ballard in 1722, when Lamo was still organist at Clementine Cathedral. For the first nine years in Paris he did not seem to have held any office.He and his companion, Piron, appeared in skits and farce for the Farr Theatre.In 1724 and 1728, Lamour published his second and third collections of organ works.In 1726, he married a 19-year-old MarieLouise Mungo, from a musical family in Lyon, whose brother helped make Lamo's music famous at the Palma court.In 1727, he competed with Daquin (1694-1772) for the post of organist at St Paul's Cathedral, but was defeated.In 1732, Lamo was already st. Croix's organist at Bretonelli, and he became a Jesuit monk in 1736.His book and acoustic "and" the music theory of new system "(Noveausystemedemusiquetheorique, 1726), and before that in several papers in" mercury "and discusses, make people see him as a great theorist of potential, but his greatest wish is creation stage.In 1727, Lamo asked Lamotte-Houdar to create a script, but it didn't finish.Around 1726 Pilon introduced him to Lerce DE La Briniere, who ran a private orchestra and whose wife, Marie-Theresedeshayes, was an admirer of Lamour's.At la Bruyneille's home, Lamo met the playwright Abbesimon-JosephPellegrin (1633-1745), who wrote 15 tragedies, tragic lyrics and balets, among other things an opera script.Lamo's first opera, Hippolytus and HippolyteetAricie, premiered in July 1733 at the home of La Bouprienne and was performed at the Opera house on October 1 of the same year.He was just 50 years old, and Pelglan was 70.Since then, Lamo has shown his talents in both composing and theory.For 22 years he conducted the financier's (or La Bouprienne's) orchestra, and from 1744 to 1753 he lived in La Bouprienne's mansion (now 59 Avenue Richelieu).When Lamour left, he returned to Bunce Onfat, where he had lived from 1739 to 1744.He lived there from then on until his death in 1764. The theoretical study Lamo believed that the study of theory was as important as composing music, and he stuck to this until the end.From 1732 until the end of his life, his books, essays and operas were published in a steady stream.Strangely, he never read his own books, but enjoyed his own music, yet he preferred his theories to be accepted, and preferred to be called a thinker rather than a composer.Later in life, as his creative resources dried up, he told Chabanon that he regretted devoting his time to composing because he preferred to spend it studying the principles of his art.Larmor obtained should have to praise, two of his book "the formation of the harmony" (Generationharmonique) and the principle of "harmony" of argument (Demonstrationduprincipedel 'harmonie) was presented to arts association, and received a high evaluation.DE alcatel-lucent bell (D 'Alembert), in the form of more popular than the original in the elements of the theory and practice of music, according to the principles of Mr Lamo and "(ElementsdemusiquetheoriqueetpartiqueselonlesprincipesdeM. Rameau, 1752) have been summarized for this two works in the book.He also attaches great importance to foreign experts, these experts have London Hans Sloane (HansSloane), younger have lived in Basel, jean Bernoulli (JeanBernoulli), Berlin's Mr Gilleard (Euler), bolognese, ray paolo maldini (PadreMartini), in these people, not all the people gave him a high evaluation.He castel godfather (FatherCastel) conducted heated debate, which is on the harpsichord with chromatography the inventor of the calibration device (clavecinoculaire) of temperament, was one of the earliest proponents of the larmor, but later, he became a fierce critic, he, with DE alcatel-lucent bell works from the support of larmor turned to the criticism.He also resented the imrespect he received from Rousseau after hearing her "Musesgalantes" at his home in La Bouprienne in 1745, and Rousseau never went away.He also attacked several articles on music that DE Alembert and Rousseau wrote for the Encyclopedia between 1755 and 1760, and for this he offended DE Alembert.On the other hand, he admired the architect and writer CharlesEtienneBriseux, who Shared some of his views. Lamo could not have had so called friendly fellow travellers, and did not seem to need close friendship."It was the emptiness of society that made him escape," explains Dagoty.Chabanon watched him walking up and down the gardens of the Tuileries and the royal palaces, but did not dare to greet him first.One day, he plucked up his courage to speak to him, and to his surprise, Lamo, instead of rejecting him, welcomed him and relieved his emptiness by telling him that the old man was only too happy to talk to him.However, he said very little, and even his wife didn't know much about him for the first half of his life.It was only when he was discussing music theory that he was able to talk eloquently.Pilon, who had been in a relationship with Lamour for 40 years, Shared these amusing details with Maret, Lamour's doctor, for an obituary, but the doctor never dared to use the most vivid descriptions in an obituary.Charbanon's eulogy is the most comprehensive description of the old man's character.Diderot's depiction of Lamo in LeneveudeRameau is discredited, even distorted (the nephew was put on trial for some time).Lamo's reputation as a parsimonious man was at odds with his several ACTS of generosity towards his kinsfolk. Although He was not an agreeable man, Lamo was never called mean or a snob.He was very open in the face of public censure, but he could not bear people to speak ill of him behind his back. Letters to the peerage Lamo died a few days before he was eighty-one, four months after he was made a peerage.Since 1745, he has enjoyed the title of "Royal composer".He was buried in the church of St. Eustash in his parish, but the bust of Ramo that stands there a century later does not indicate where he slept because the exact location is no longer known. Lamo's physique was familiar: tall and trim, resembling Voltaire's, his features hardly resembled those of his contemporaries;They also remind us of another composer and theorist of the time, Tartini (Tartini, 1692-1770).'He has a pointed chin, a shriveled belly, and very spineless legs,' SebastienMercier said.He was unusually tall and thin, Shabanon wrote, "more like a ghost than a man".Ramo's hawk-like profile is so aesthetically pleasing that it's hard to find a face image of him, except for the portrait drawn by Aved in Dijon. Today's video：1. Jean-philippe Lamour's Hippolytus and Aririche (2012) at the State Opera House in Paris;2. Tuscanini's string Quartet performs a quartet concert by Rameau et al.3. Garden Outdoor Concert for the 40th anniversary of the French Flourishing Art and Ancient Orchestra (2019）. |
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| 艾曼纽埃尔·海姆(Emmanuelle Haim) | |||||||||||||||||||||||
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艾曼纽埃尔·海姆(Emmanuelle
Haim)作为一名键盘演奏家和指挥家，被誉为巴洛克风格曲目的演奏家和冠军。在2019/
2020这一季中，她将在皇家音乐会、伦敦交响乐团和NDR
Elbphilharmonie交响乐团首次亮相。艾曼纽尔定期指挥柏林爱乐乐团和洛杉矶爱乐乐团，并将在这个赛季回到这两个乐团。上一季，她的首演包括纽约爱乐乐团和费城交响乐团，以及苏黎世歌剧院，她在那里指挥了拉莫的《希波利特和阿里奇》的新剧目。其他最近的首次演出包括Bayerischer
Rundfunk和Leipzig
Gewandhaus管弦乐团以及维也纳爱乐乐团，他们在维也纳和卢塞恩音乐节上都有演出。 2000年，艾曼纽埃尔创立了Le Concert d 'Astree乐团，很快在国际上建立了声誉。在2019/ 2020季期间，他们的表演包括在里尔歌剧院上演的珀塞尔的《印度女王》，以及在卢森堡和卡昂上演的拉莫和蒙顿维尔的双比尔。 艾曼纽埃尔定期在格林德本音乐节歌剧演出中担任指挥，包括《狄奥多拉》(Handel)和《波波豌豆》(L’incoronazione di Poppea)(蒙特威尔第)。她还与Glyndebourne巡回歌剧和芝加哥抒情歌剧合作演出。 |
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| 艾曼纽埃尔·海姆(Emmanuelle Haim)在指挥中 | |||||||||||||||||||||||
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The
Emmanuelle Haïm is highly acclaimed as a performer
and champion of the Baroque repertoire, both as a
keyboard player and conductor. During the 2019/20
season she will make her debut with the Royal
Concertgebouw, London Symphony and NDR
Elbphilharmonie Orchestras. Emmanuelle regularly
conducts the Berliner Philharmoniker and Los Angeles
Philharmonic and will return to both during this
season. Last season her debuts included the New York
Philharmonic and Philadelphia Orchestras as well as
Zurich Opera, where she conducted a new production
of Rameau’s Hippolyte et Aricie. Other recent debuts
have included the Bayerischer Rundfunk and Leipzig
Gewandhaus Orchestras as well as the Wiener
Philharmoniker, with performances in Vienna and at
the Lucerne Festival. In 2000 Emmanuelle founded Le Concert d’Astrée, which quickly established an international reputation. During the 2019/20 season their performances include a new production of Purcell’s The Indian Queen at Lille Opera and a Rameau and Mondonville double bill in Luxembourg and Caen. Emmanuelle has conducted regularly at Glyndebourne Festival Opera, including Theodora (Handel) and L’Incoronazione di Poppea (Monteverdi). She has also performed with Glyndebourne Touring Opera and Chicago Lyric Opera. With Le Concert d’Astrée, Emmanuelle has a very extensive discography with Erato/Warner Classics, which have won numerous awards. Their most recent releases are a CD of Italian Cantatas by Handel performed by Sabine Devieilhe and Lea Desandre and a DVD of Handel’s Rodelinda filmed in Lille in 2018. Emmanuelle is a Chevalier de l’Ordre National de la Légion d’Honneur, an Officier des Arts et des Lettres, an Officier de l’ordre national du Mérite and an Honorary Member of the Royal Academy of Music. |
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| 弦乐四重奏 & 拉莫,门德尔松,柴可夫斯基,格什温-音乐作品 | |||||||||||||||||||||||
| Rameau,Mendelssohn,Tchaikovsky,Gershwin-Quartet | |||||||||||||||||||||||
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拉莫、门德尔松、柴可夫斯基、格什温-托斯卡尼尼四重奏-首次公开募网上室内乐系列 以色列爱乐乐团 首播开始于2020.08.31 订阅并点击铃铛，这样你就不会错过一场音乐会! https://bit.ly/IPO-YouTube 托斯卡尼尼的弦乐四重奏: 叶夫根尼亚·皮科夫斯基,小提琴 阿萨夫·毛兹,小提琴 德米特里·拉特鲁什,中提琴 费利克斯·内米罗夫斯基,大提琴 拉莫:《来自Indes Galantes的六支舞》——由罗伯特·莫泽斯编曲 来自四个民族。 小步舞曲 狭长形鼓 嘉禾舞在回旋诗 序曲:太阳崇拜 空气杜特 门德尔松:弦乐四重奏四首 变化无常的行板 诙谐曲:快板leggiero 摩羯座:行色匆匆 赋格:节奏序曲 柴可夫斯基:弦乐四重奏中的如歌的行板。1,作品11号 格什温:我爱的人 想了解更多内容，请关注我们的Instagram和Facebook https://www.instagram.com/israel_phil..。 视频导演:尤尔·卡利纳 摄影导演:Dror Heller 声音:Rafi Eshel, Yaron Aldema - Eshel Sound Studios 创意总监:伊丽莎白·卡利纳 灯光设计师:Dani Rogovin Rameau, Mendelson, Tchaikovsky & Gershwin - Toscanini Quartet - IPO Online Chamber Music Series Israel Philharmonic Orchestra 首播开始于 2020.08.31 Subscribe and click on the bell so you do not miss a single concert! https://bit.ly/IPO-YouTube Toscanini String Quartet: Yevgenia Pikovsky, violin Asaf Maoz, violin Dmitri Ratush, viola Felix Nemirovsky, cello Rameau: Six Dances from Indes Galantes - Arranged by Robert Mozes Entrée des quatre nations Menuet Tambourin Gavotte en Rondeau Prélude: Adoration du soleil Air du sauvage Mendelssohn: Four Pieces for String Quartet Tema con variazioni: Andante sostenuto Scherzo: Allegro leggiero Capriccio: Andante con moto Fugue: A tempo ordinario Tchaikovsky: Andante cantabile from String Quartet no. 1, op. 11 Gershwin: The Man I Love For more content, follow us on Instagram and Facebook https://www.instagram.com/israel_phil... Video Director: Yoel Culiner Director of Photography: Dror Heller Sound: Rafi Eshel, Yaron Aldema - Eshel Sound Studios Creative Director: Elizabeth Culiner Light Designer: Dani Rogovin |
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法国繁盛艺术古乐团成立40周年 花园露天音乐会Les Arts Florissants feiern ihr 40. Jubiläum |
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在2019年，由威廉·克里斯蒂（William Christie）创立的巴洛克合奏Les Arts
Florissants以其举世闻名的大型巴洛克咏叹调庆祝其成立40周年。该活动在克里斯蒂本人设计的法国西部旺代乡村庄园花园中举行。向一生的不懈努力致敬。 亨利·珀塞尔，让-菲利普·拉莫，安东尼奥·维瓦尔迪，乔治·弗里德里希·汉德尔作品 保罗•阿格纽(男高音) 托马斯·邓福德 (Laute) 雷切尔·雷蒙德(Sopran) 埃洛迪·丰纳德(Sopran) 西里尔Auvity(本体) 利桑德罗Abadie(低音) |
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Works by
Henry Purcell, Jean-Philippe Rameau, Antonio
Vivaldi, Georg Friedrich Händel |
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