Figure 12.3: François Couperin, Lully Plays the Subject and Corelli Accompanies Him: Corelli Plays the Subject in His Turn, While Lully Accompanies. From Concert instrumental sous le titre d’Apothéose composé à la mémoire immortelle de l’incomparable Monsieur de Lully par Monsieur Couperin… (Paris, 1725). Galicia Bibliothèque Numèrique.
Francois Couperin, Lecons de tenebres, Wednesday, Lesson 1 (ca. 1714), performed by Les Arts Florissants, conducted by William Christie; Sophie Daneman (soprano):
Figure 12.2
Francois Couperin, Le tic-toc-choc, ou Les maillotins, from Pieces de clavecin, Book 3 (1722), performed by Gianandrea Pauletta (clavicembalo):
Example 12.2
Francois Couperin, Concert instrumental sous le titre d’Apotheose compose a la memoire immortelle de l’incomparable Monsieur de Lully (1725), Corelli accompanies Lully, and Lully accompanies Corelli, performed by Les Ombres (Concert baroque vocal et instrumental), directed by Margaux Blanchard and Sylvain Sartre:
Figure 12.3 (example begins at 21:36)
Elisabeth Jacquet de la Guerre, Le sommeil d’Ulisse (1715), tempest aria and sleep aria, performed ny Les Talens Lyriques, with Judith van Wanroj, soprano, directed by Christophe Rousset
Example 12.3 and 12.4 (mm. 89-92 begins at 4:21, mm. 200-203 at 10:09)
Jean-Philippe Rameau, Hippolyte et Aricie (1733), Trio of the Fates, performed by Le Concert d’Astrée, conducted by Emmanuelle Haïm, Ivan Alexandre, Stage direction. (Stage production – watch the complete production here):
Example 12.5 (mm. 16-22 begins at 2:04)
François Couperin, Pièces de Clavecin: Ordre 3: La ténébreuse, played by Olivier Baumont (1713)
François Couperin, Pièces de Clavecin, Ordre 6, Les moissonneurs, Mark Kroll, harpsichord
Anthology 18
Jean-Philippe Rameau, Platée, Act 2, scene 3: A l’aspect de ce nuage (1745). Production from Hukotopia Hall, Tokyo, 2014, Platée sung by Mathias Vidal, conducted by Ryo Terakado.
Anthology 19
Global Resources for Chapter 12
Further Reading
Anderson, Nicholas. “Rameau’s Platée: Burlesque or Grotesque?” Early Music 11, no. 4 (October 1983): 505–8. http://www.jstor.org/stable/3137877
Cabrini, Michele. “Breaking Form through Sound: Instrumental Aesthetics, Tempte, and Temporality in the French Baroque Cantata.” Journal of Musicology 26, no. 3 (Summer 2009): 327–78. http://www.jstor.org/stable/10.1525/jm.2009.26.3.327
Charlton, David. Opera in the Age of Rousseau: Music, Confrontation, Realism. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 2012. http://www.worldcat.org/oclc/795504222
Clark, Jane, and Derek F. Connon. “The Mirror of Human Life”: Reflections on François Couperin’s Pièces de clavecin. Huntingdon [UK]: King’s Music, 2002. http://www.worldcat.org/oclc/50845354
Cohen, Sarah R. “Body as ‘Character’ in Early Eighteenth-Century French Art and Performance.” Art Bulletin78, no. 3 (September 1996): 454–66. http://www.jstor.org/stable/3046195
Cowart, Georgia. “Carnival in Venice or Protest in Paris? Louis XIV and the Politics of Subversion at the Paris Opéra.” Journal of the American Musicological Association 54, no. 2 (Summer 2001): 265–302. http://www.jstor.org/stable/10.1525/jams.2001.54.2.265
Cowart, Georgia. “Watteau’s Pilgrimage to Cythera and the Subversive Utopia of the Opera-Ballet.” Art Bulletin83, no. 3 (September 2001): 461–78. http://www.jstor.org/stable/3177238
Dill, Charles. Monstrous Opera: Rameau and the Tragic Tradition. Princeton Studies in Opera. Princeton, NJ: Princeton University Press, 1998. http://www.worldcat.org/oclc/37437552
Fader, Don. “The ‘Cabale du Dauphin,’ Campra, and Italian Comedy: The Courtly Politics of French Musical Patronage around 1700.” Music and Letters 86, no. 3 (August 2005): 380–413. http://www.jstor.org/stable/3526608
Fader, Don. “Philippe II d’Orleans’s ‘chanteurs italiens,’ the Italian Cantata and the goûts-réunis under Louis XIV.” Early Music 35, no. 2 (May 2007): 237–49. http://www.jstor.org/stable/30138021
Girdlestone, Cuthbert. Jean-Philippe Rameau: His Life and Work. Rev. and enlarged version. New York: Dover Publications, 1969. http://www.worldcat.org/oclc/80803
Harris-Warrick, Rebecca. “Staging Venice.” Cambridge Opera Journal 15, no. 3 (November 2003): 297–316. http://www.jstor.org/stable/3878254
Heyer, John Hajdu, The Lure and Legacy of Music at Versailles: Louis XIV and the Aix School. Cambridge: Cambridge University Press, 2014. http://www.worldcat.org/oclc/880349837
Kintzler, Catherine. “Representations of le peuple in French Opera, 1673–1764.” In Opera and Society in Italy and France from Monteverdi to Bourdieu, ed. Victoria Johnson, Jane F. Fulcher, and Thomas Ertman. Cambridge Studies in Opera. Cambridge and New York: Cambridge University Press, 2007. http://www.worldcat.org/oclc/74523243
Mellers, Wilfred. Franois Couperin and the French Classical Tradition. Rev. ed. London and Boston: Faber and Faber, 1987. http://www.worldcat.org/oclc/14240077
Sadler, Graham. “Patrons and Pasquinades: Rameau in the 1730s.” Journal of the Royal Musical Association 113, no. 2 (1988): 314–37. http://www.jstor.org/stable/766364
Sadler, Graham. “The Role of the Keyboard Continuo in French Opera 1673–1776.” Early Music 8, no. 2 (April 1980): 148–57. http://www.jstor.org/stable/3126772
Semmens, Richard Templer. The Bals publics at the Paris Opéra in the Eighteenth Century. Dance and Music 13. Hillsdale, NY: Pendragon Press, 2004. http://www.worldcat.org/oclc/52902707
Music in the Baroque: Companion Website by Wendy Heller 