Jean-Philippe Rameau Jean-Philippe Rameau was born in Dijon in 1683. The seventh of eleven children, he did not come from a family of musicians, though his father was the first to choose that career path. Rameau left secondary school without graduating and struggled with French grammar until a young woman pointed it out to him. Inspired by school performances, he discovered his passion for opera at the age of twelve.
After a brief stay in Italy, Rameau returned to France and worked as a violinist in regions such as Provence and Languedoc. He frequently changed jobs from one church to another, resigned several times, and was always looking for new opportunities. It wasn't until he was forty that he finally settled in Paris, started a family, and became the father of four children. The rather reserved Rameau spoke little about his youth.
His early compositions included cantatas, motets, and his major work on music theory, 'Traité de l’harmonie' (1722). Although he worked as an organist for many years, he left no works for the organ. It was only after his operatic success with 'Hippolyte et Aricie' that he became famous as an opera composer, and he continued to create operas, ballets, and theoretical works well into old age.
Rameau was tall, slender, and had striking features. He was described as frugal, yet generous to his family and young musicians. His aim was to create music as the "language of the heart."
The Suite in E minor from 1724 contains popular pieces such as the 'Tambourin' as well as other dances like the 'Gigues en rondeau' and the graceful 'Musette en rondeau'. The suite concludes with the soulful rondeau 'La villageoise'.
The G minor suite of 1729/30 is characterized by greater drama and richness; for example, 'La poule' is particularly intense. In the A minor suite, Rameau incorporates traditional movements such as the Allemande and Sarabande in an unusual way and ends the work with a virtuosic Gavotte and six variations.
Modern editions of Rameau's keyboard works, such as the Bärenreiter edition, reconstruct the original text. Their interpretation requires meticulous ornamentation and a specific technique, which he describes in his essay on harpsichord playing technique.