Grove's dictionary of music and musicians

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20 RAMEAU RAMEAU
The mere titles of these works are a proof
of the research and invention which Rameau
brought to bear on the theory of music ; but
what was most remarkable in his case is that
he succeeded in lines which are generally
opposed to each other, and throughout life
occupied the first rank not only as a theorist,
but as a player and composer. Just when
his Traiti de I'Harmonie was beginning to
attract attention he arranged to make music
for the little pieces which his fellow-countryman,
Alexis Piron, was writing for the Th6S,tre de la
Foire, and accordingly, on Feb. 3, 1723, they
produced 'L'Endriague,' in three acts, with
dances, divertissements, and grand airs, as
stated in the title. In Jan. 1724 he obtained
the privilege of publishing his cantatas, and
various instrumental comijositions, amongst
others his ' Pitees de clavecin, avec une Methode
pour la m&anique des doigts,' etc., republished
as ' Pitees de Clavecin, avec une table pour les
agr^ments'' (Paris, 1731 and 1736, oblong
folio).
As the favourite music-master among ladies
of rank, and organist of the church of Ste. Croix
de la Bretonnerie, Rameau's position and prospects
now warranted his taking a wife, and on
Feb. 25, 1726, he was united to Marie Louise
Mangot, a good musician, with a pretty voice.
The disparity of their ages was considerable,
the bride being only eighteen, but her loving
and gentle disposition made the marriage a
very happy one.
A few days later, on Feb. 29, Rameau produced
at the Theatre de la Foire, a one-act piece
called ' L'Enr81ement d'Arlequin,' followed in
the autumn by Le ' faux Prodigue,' two acts,
both written by Piron. Such small comic pieces
as these were obviously composed, by a man of
his age and attainments (he was now forty-two),
solely with the view of gaining access to a stage
of higher rank, but there was no hope of admission
to the theatre of the Aoad^mie without a
good libretto, and this it was as difficult for a
beginner to obtain then as it is now. There is
a remarkable letter, still extant, from Rameau
to Houdar de Lamotte, dated Oct. 1727, asking
him for a lyric tragedy, and assuring him that
he was no novice, but one who had mastered
the ' art of concealing his art." The blind poet
refused his request, but aid came from another
quarter. La Popelinifere, the fermier giniral,
musician, poet, and artist, whose houses in Paris
and at Paasy were frequented by the most
celebrated artists French and foreign, had chosen
Rameau as his claveoinist and conductor of the
music at his fStes, and before long placed at his
disposal the organ in his chapel, his orchestra,
and his theatre. He did more, for through his
influence Rameau obtained from Voltaire the
lyric tragedy of 'Samson,' which he promptly
Both Fitia and Pongln have fallen Into the mietake o< comider-
I
Ing this a Bepar^te work.
set to music, though the performance was prohibited
on the eve of its representation at the
Academic—an exceptional stroke of ill-fortune.
[On the history of this work, see Hugues Imbert's
Symphonie (1891), and for a resume of the facts,
see Musical Times, 1898, p. 379 ff.] At last the
AbW Pellegrin agreed to furnish him with an
opera in five acts, 'Hippolyte et Aricie,' founded
on Racine's 'Phedre.' He compelled Rameau
to sign a bill for 500 livres as security in case
the opera failed, but showed more sagacity and
more heart than might have been expected
from one
C
Qui dinait de I'autel et soupait du th^trp,
Le matin catliolique ct lo soir idolatre,
for he was so delighted with the music on its
first performance at La Popeliniere's, that he
tore up the bill at the end of the first act. The
world in general was less enthusiastic, and after
having overcome the ill-will or stupidity of
the performers, Rameau had to encounter the
astonishment of the crowd, the prejudices of
routine, and the jealousy of his brother artists.
Campra alone recognised his genius, and it is to
his honour thatwhen questioned by the Prince de
Conti on the subject, he replied,
' There is stuff
enough in Hippolyte et Aricie for ten operas ;
this man will eclipse us all.
The opera was produced at the Academic on
Oct. 1, 1733. Rameau was then turned fifty
years of age, and the outcry with which his
work was greeted suggested to him that he had
possibly mistaken his career ; for a time he contemplated
retiring from the theatre, but was
reassured by seeing his hearers gradually accustoming
themselves to the novelties which at
first shocked them. The success of Les ' Indes
galantes' (August 23, 1735), of 'Castor et
Pollux,' his masterpiece (Oct. 24, 1737), and of
'Les Fetes d'Hebe' (May 21, 1739), however,
neither disarmed his critics, nor prevented
Rousseau from making himself the mouthpiece
of those who cried up Lully at the expense of
the new composer. But Rameau was too well
aware of the cost of success to be hurt by
epigrams, especially when he found that he could
count both on the applause of the multitude,
and the genuine appreciation of the more enlightened.
His industry was immense, as the following
list of his operas and ballets produced at the
Academic in twenty years will show :
DardanuB, flye acta and proilogue
(Oct. 19. 1739).
(Feb. 4, 1749).
Platde, thi«e acta and prologue
Loa Pfitea de Polymnie. three NaTa, three acta and prologue
'acta and prologao (Oct. 12. 1746), (April 22, 1749).
Le Temple de la Ololre, P6te, Zoroaetre, five acta (Dec 5.
in three acta and prologue (Not, 1749).
';*, 17*i).
La Guirlande, on lea Fleui-a enchanttSea,
one act (Sept. 21. 1751).
four ac1» and prologne
!(Peb. 29, 1748).
Acanthe et Cdphiao, three acts
one act (Aug. 27, (Nov. 18, 1761).
l!r48).
Les Surpriaes de 1'Amour, three
F£te8 de I'Hymen et de acts (July 12, 1767).
I'AinouT, three acta and prologue Lea Paladins, three acts (Feb.
lUarch 15, 1747).
12, 1760).
Besides these, Rameau found time to write
divertissements for 'Les Courses de Temp6,' a