J. Ph. Rameau: L'Entretien des Muses (Constance Luzzati, harp)
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- Опубликовано: 9 фев 2025
- J. Ph. Rameau: L'Entretien des Muses - extract from Pièces de clavecin
Constance Luzzati, harp / @constanceluzzati
Jean-Philippe Rameau (1683-1754) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin. Rameau's music is characterised by the exceptional technical knowledge of a composer who wanted above all to be renowned as a theorist of the art. Nevertheless, it is not solely addressed to the intelligence, and Rameau himself claimed, "I try to conceal art with art." The paradox of this music was that it was new, using techniques never known before, but it took place within the framework of old-fashioned forms. Rameau appeared revolutionary to the Lullyistes, disturbed by the complex harmony of his music; and reactionary to the "philosophes," who only paid attention to its content and who either would not or could not listen to the sound it made. Along with François Couperin, Rameau is one of the two masters of the French school of harpsichord music in the 18th century. Both composers made a decisive break with the style of the first generation of harpsichordists, who confined their compositions to the relatively fixed mould of the classical suite. Rameau and Couperin have very different styles and Rameau cannot be considered the follower of the older composer. They seem not to have known one another (Couperin was one of the official court musicians while Rameau was still an unknown; fame would only come to him after Couperin's death). Rameau published his first book of harpsichord pieces in 1706 while Couperin (who was fifteen years his senior) waited until 1713 before publishing his first "ordres." Rameau's music includes pieces in the pure tradition of the French suite: imitative ("Le rappel des oiseaux," "La poule") and character ("Les tendres plaintes", "L'entretien des Muses") pieces and works of pure virtuosity that resemble Scarlatti ("Les tourbillons," "Les trois mains") as well as pieces that reveal the experiments of a theorist and musical innovator ("L'Enharmonique", "Les Cyclopes"), which had a marked influence on Daquin, Royer, and Jacques Duphly. The suites are grouped in the traditional way, by key.
Rameau's three collections appeared in 1706, 1724 and 1726 or 1727, respectively. After this, he only composed a single piece for the harpsichord: "La Dauphine" (1747).
With an amazing energy, a deep understanding of music, and a permanent search to discover new repertoires, Constance Luzzati "wipes away, in one single sweep, all the stereotypes which still make solo harp sometimes look like a weird, austere animal1". Hailed by La Lettre du musicien for "her acute sense of musicality, of phrasing, of ornamentation of baroque - perfectly rendered by the harp - and a surprising virtuosity", Constance Luzzati devotes herself mostly to early and contemporary music, out of personal inclination for these repertoires as well as artistic commitment. She believes the repertoire of her instrument could be fruitfully widened with quality new or early music pieces. She is currently working toward a PhD on the transcription for the harp of the French harpsichord repertoire.
She has won numerous prizes in international competitions: first prize in the 2007 Hungarian International Harp Competition, first prize in the 2006 Wales International Harp Competition, awarded for the best interpretation of contemporary music at the International Competition Cité des Arts in Paris in 2005, and awarded at the International Arpista Ludovico Competition in Madrid, also in 2005. She was a finalist in the 2011 Concert Artists Guild Competition in New York City. Additional recognition includes the Fondation pour la Vocation award, the Sacem award, the Adami award, and Cultures France award.
Constance Luzzati has earned Master's degrees in harp, in musicology, and in musical analysis, at the famous Conservatoire National Supérieur de Musique de Paris. She received the Avant-Scènes Prize in 2006, the highest award given to a CNSM postgraduate student. Her principal harp trainers were Isabelle Moretti and Germaine Lorenzini. She has also studied baroque harp at the Scuola Civica in Milan, with Mara Galassi. Additionally, she has been receiving great artistic guidance for early music from the harpsichord player Kenneth Weiss since 2006, as a postgraduate and PhD professor.
Information and photos were taken from the Internet. www.constanceluzzati.com
esecuzione molto molto bella grazie stupefacente per arpa una rivelazione di suono e passione
Simply beautiful!!
Merci infiniment pour cette si belle interprétation ... vous avez perçu cette douceur et ce calme apparants qui cachent un océan de mélancolie ... c'est juste sublime !
Greetings! You can find Constance's own channel here: www.youtube.com/@constanceluzzati
Musique du reve....merci
❤️💕💕
I am so surprised that Constance has such low viewership. Listening to her preform, is a great gain for me. Left me tranquil and full of love. What a great loss for those who do not listen.
thank you so much for sharing your talent.
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Dear Emma, I uploaded this recording only as a sincere fan of Constance's playing. You can visit here own channel here: www.youtube.com/@constanceluzzati
cette pièce sonne encore mieux pour harpe que pour clavecin. Une performance magistrale.
I have listened to the piece several times and I have re-read Anastasiaharp's writing. Thank you for making the performance and the writing available on RUclips.From 6000 miles distant, and four years time elapsed, I send you best wishes. Merci.
👍🎶👍🎶👍🎶👍🎶👍🎶👍🎶👍
Fantástico.......Rameau ¡¡¡ lo mejor del Barroco francés ¡¡¡¡
Звучит очень красиво,но все же,музыка барокко в оркестре намного ярче и восхитительней. Благодарю
Des moments féériques...