Rameau had discovered the natural formation of chords, a thing wonderful in itself and sufficient to make his name immortal; but in thus establishing the principles of harmony he had not established all its laws. He left to his didactic successors the work of laying down the important rules of the attraction of notes for the determination of chords, as also the rules governing their movement in modulation. It is thus that we find in Rameau’s work certain hazardous harmonies which are more due to the non-observance of these laws than offences against good taste or fancies of the composer’s imagination. We see, indeed, in the music of this artistic genius successions of fifths, faulty relation of notes, brusque modulations offensive to the ear, which are nothing more than faults in writing. Thus he who has been truly called the “Father of Harmony,” made mistakes in harmony which, even at the present day, in spite of the great liberty taken by composers of the advanced school with their successions of modified chords, still remain faults in musical grammar.
Rameau wrote his last opera, “Les Paladins,” at the age of seventy-seven. In reading this score we find nothing to indicate any failing of the vigorous mind of this extraordinary musician, who, following Lully, was the pioneer in the great field of dramatic music that Gluck was destined to cover with incomparable power and genius.
Fac-simile musical manuscript written by Rameau.
Reproduced from original in the Paris Opera Library.
This article would be very incomplete were we not to say a few words concerning the pieces for the harpsichord composed by Rameau, which form such an important item in the fine work by A. Mereaux, “Les Clavecinistes,” containing a selection of pieces by these musicians from 1637 to 1790, classed in their chronological order, and revised, annotated and accented with the variations and ornaments of the period and in full notation. What pianist of the present day has not delighted in playing, from amongst the numerous compositions by Rameau for the harpsichord, his “Musette,” “Tambourin,” “Poule,” “Rappel des Oiseaux,” “Fanfarinette,” “Egyptienne,” and “Entretiens des Muses,” etc. Few pianists, however, have succeeded in executing these delightful inspirations on the instrument for which they were written, and which gives them their full effect, with all the freshness of idea, color, and ingenious accompaniment. It is a feast for a musical epicure to hear music by Couperin, or Frescobaldi, or Scarlatti played by an educated musician and pianist of taste, in conjunction with music by Rameau executed upon a well-preserved or newly-manufactured harpsichord. For the celebrated piano manufactory of Pleyel, Wolff et Cie., of Paris, yielding to the desire expressed by a few artists and amateurs, has made for them a limited number of harpsichords which out-rival in a remarkable manner, both as to quality of sound and the number of pedals, the finest instrument of the celebrated Taskin.
In 1888, the Paris Society of Musical Composers gave an exclusively artistic soirée in the Salle Pleyel, the memory of which yet remains. By the side of magnificent grand pianos, the most noble instruments produced by this musical establishment, was a harpsichord, which gave promise of great things. It was not found wanting when put to the test; for, in the hands of M. Diémer and Mme. Roger-Miclos, two virtuosos whose reputation is well established, it rendered the music of the composers who wrote for the harpsichord in a wonderful manner, particularly the pieces by Rameau.
A statue has been erected to the memory of Rameau in his native town of Dijon, due to the initiative of a Dijon composer of considerable talent, M. Poisot, who opened a subscription in order to put on record the public admiration for this great and illustrious musician of Burgundy.
TRIUMPH OF RAMEAU.
From a rare engraving by Fessard.