Handel is the greatest plagiarist of his time: we no longer count the number of full parts of music copied on the Italians and on Telemann, who naively sent him his scores... An example : its overture from Royal firewoks are directly inspired by the "Ouverture du Caprice de Villers-Cotterets", from Delalande. Moreover, there are not many composers who have theorized their work and explained it. Rameau has made rameau : It is identifiable from the first three measures of his overtures, which are already Impressionist music. Listen to Zais, or Zoroastre, or Nais, and you will understand that he has no lessons to learn from Handel. He is the greatest intelligence with Bach's.
@@thierrybobinet666 No enthusiast of baroque music can deny that Rameau was a composer of colossal genius, right up there with Handel, Bach and Telemann. You rightly point out that Rameau, just like his three counterparts, has an unmistakable style which is very much his own. However, to describe Handel as the greatest plagiarist of his time is false; plagiarism, or "borrowing", was extremely common among baroque composers, with Bach and Telemann constantly doing so as well. Indeed, it is impossible to know who borrowed most, as it wasn't considered criminal or even dishonourable, as musical borrowings were transformed by the plagiarizing composers. Bach, for instance, borrowed extensively, so much so that the example you provided, the overture to Delalande's "Caprice de Villers-Cotterets" was actually used by him (not by Handel) when composing the overture to the Third Orchestral Suite. Plagiarism only started to become highly disregarded among musicians in the late 18th century, to such an extent that Thomas Arne's 1741 copyright lawsuit was ridiculed by London's artistic scene. Yes, Rameau was a genius, but so was Handel, a man who soaked up musical influences from three entirely different countries and turned them into his very own magnificent form of artistic expression, which revolutionized opera in Britain and brought to the world the English Oratorio, not to mention a melodic brilliance which few composers since have been able to match. You may prefer Rameau, and that is a fine choice, but please bear in mind that Handel was an individual of equal stature, and that when people say that the former's music sounds Handelian, it is a tribute to both these great men. All the best.
@@joaoproenca2443 I must correct you on two points: firstly, the concerto TWV 53:F1 is a concerto for three violins (the version for mandolin is a transcription). Secondly, this concerto was first published in 1733 as part of the Tafelmusik. This means it was composed before Handel's Solomon (1748). So Handel is indeed the one who borrowed from Telemann.
the goddess Dianna, favourite of Jean Cocteau and mine. Also present in 18th century English parks of Aristocrats near London such as for example Chiswick Gardens and Syon park. In Chiswick of course not only in the park are references but also in the rooms where ritual of initiation were taking place ...
Merci pour cette superbe ouverture! À quand une nouvelle version intégrale de ce Temple de la Gloire (celle de Malgoire n'existe qu'en Vinyle je pense). Mais pourquoi illustrer avec les photos de la production d'Hippolyte et Aricie d'Ivan Alexandre et Emmanuelle Haïm - photos prises lors des représentations au Capitole de Toulouse et non lors de la reprise de juin 2012 à l'Opéra Garnier?
The play pictured is the performance of Le Temple de la Gloire at the Centre de Musique Baroque, Versailles France. I recognize it because I attended a performance of the Opera by the Philharmonia Baroque Orchestra at Zellerbach Hall Berkeley CA in April 2017. The Berkeley performance used the same sets and included many of the singers from the Versailles production. It was a dazzling re creation of how the 1746 Versailles production might have appeared to Louis XV who was in attendance and to whom the Opera was dedicated.
Rameau est vraiment un génie de la musique.
Félicitations. Il est un génie de la musique.
I sure wish this was available on DVD!
j'aime beaucoup...
Das ist sehr gut...!!!
"The Temple of Glory" - this piece is well-named! It is glorious and also very evocative of Handel.
Yes, and yes! I went to Alcina in Salzburg this summer, Cecilia Bartoli as Alcina...
It was wonderful! Quite evocative of Händel!
Handel is the greatest plagiarist of his time: we no longer count the number of full parts of music copied on the Italians and on Telemann, who naively sent him his scores... An example : its overture from Royal firewoks are directly inspired by the "Ouverture du Caprice de Villers-Cotterets", from Delalande. Moreover, there are not many composers who have theorized their work and explained it. Rameau has made rameau : It is identifiable from the first three measures of his overtures, which are already Impressionist music. Listen to Zais, or Zoroastre, or Nais, and you will understand that he has no lessons to learn from Handel. He is the greatest intelligence with Bach's.
Strangely, Handel is evocative of many, many and many composers !!!
@@thierrybobinet666 No enthusiast of baroque music can deny that Rameau was a composer of colossal genius, right up there with Handel, Bach and Telemann. You rightly point out that Rameau, just like his three counterparts, has an unmistakable style which is very much his own. However, to describe Handel as the greatest plagiarist of his time is false; plagiarism, or "borrowing", was extremely common among baroque composers, with Bach and Telemann constantly doing so as well. Indeed, it is impossible to know who borrowed most, as it wasn't considered criminal or even dishonourable, as musical borrowings were transformed by the plagiarizing composers. Bach, for instance, borrowed extensively, so much so that the example you provided, the overture to Delalande's "Caprice de Villers-Cotterets" was actually used by him (not by Handel) when composing the overture to the Third Orchestral Suite. Plagiarism only started to become highly disregarded among musicians in the late 18th century, to such an extent that Thomas Arne's 1741 copyright lawsuit was ridiculed by London's artistic scene. Yes, Rameau was a genius, but so was Handel, a man who soaked up musical influences from three entirely different countries and turned them into his very own magnificent form of artistic expression, which revolutionized opera in Britain and brought to the world the English Oratorio, not to mention a melodic brilliance which few composers since have been able to match. You may prefer Rameau, and that is a fine choice, but please bear in mind that Handel was an individual of equal stature, and that when people say that the former's music sounds Handelian, it is a tribute to both these great men. All the best.
@@joaoproenca2443 I must correct you on two points: firstly, the concerto TWV 53:F1 is a concerto for three violins (the version for mandolin is a transcription). Secondly, this concerto was first published in 1733 as part of the Tafelmusik. This means it was composed before Handel's Solomon (1748). So Handel is indeed the one who borrowed from Telemann.
❤️
Musica sontuosa e impreziosita di sapienza compositiva
Trovo la Musica di Rameau molto Innovativa e Moderna. Non sembra completamente Musica Barocca...🎼.👑📯🎻🎺 🎶🎶🎶
Dommage que certains vents soient parfois dépassés par le tempo... A quand un peu de feeling jazz en baroque ?!!!
the goddess Dianna, favourite of Jean Cocteau and mine. Also present in 18th century English parks of Aristocrats near London such as for example Chiswick Gardens and Syon park. In Chiswick of course not only in the park are references but also in the rooms where ritual of initiation were taking place ...
I have no clue what you are talking about.
Merci pour cette superbe ouverture! À quand une nouvelle version intégrale de ce Temple de la Gloire (celle de Malgoire n'existe qu'en Vinyle je pense). Mais pourquoi illustrer avec les photos de la production d'Hippolyte et Aricie d'Ivan Alexandre et Emmanuelle Haïm - photos prises lors des représentations au Capitole de Toulouse et non lors de la reprise de juin 2012 à l'Opéra Garnier?
what is the name of the play in the pictures?
The play pictured is the performance of Le Temple de la Gloire at the
Centre de Musique Baroque, Versailles France. I recognize it because
I attended a performance of the Opera by the Philharmonia Baroque
Orchestra at Zellerbach Hall Berkeley CA in April 2017. The Berkeley
performance used the same sets and included many of the singers
from the Versailles production. It was a dazzling re creation of how
the 1746 Versailles production might have appeared to Louis XV who
was in attendance and to whom the Opera was dedicated.
It looks exactly like the production of Hippolyte et Aricie that I have on DVD.
@LULLYxoxo
Aghhh j´étais sûr que j´allais t´avoir mais tu es trop forte, tant pis pour moi ;o)
@LULLYxoxo
et qui est la (presque)mère?
Espléndida