Rameau: Premier menuet en rondeau in G major

This page lists all recordings of Premier menuet en rondeau in G major, by Jean Philippe Rameau (1683-1764) on CD & download (MP3 & FLAC).

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The Complete Harpsichord Works of Rameau

The Complete Harpsichord Works of Rameau


Rameau:

Premier Livre de pieces de clavecin

Les petits marteaux

Suite in E minor from Pièces de clavecin (1724, revised 1731)

Premier menuet en rondeau in G major

Suite in D Major

Nouvelles Suites de Pièces de Clavecin

Suite in G major/G minor

La Dauphine

Pygmalion: Overture

Claude Balbâtre’s transcription

La Livri

from the first concert

L'Agaçante in G major

from the second concert

La Timide (from the third concert)

L'indiscrète

from the fourth concert


Jory Vinikour (harpsichord)

In an incredible illustration of virtuosic performance, Sono Luminus brings you The Complete Harpsichord Works of Rameau, with world reknowned harpsichordist Jory Vinikour. Rameau’s compositional penchant for combining technical prowess with musical artistry is brilliantly showcased on this two disc set of solo harpsichord music.

Rameau’s output as a composer for solo harpsichord must be considered among the most important in French 18th century keyboard repertoire, along with that of François Couperin. The musical and harmonic ingenuity demonstrated throughout these works, as well as Rameau’s uniquely idiomatic approach to the harpsichord, ensure these works a permanent place in the repertoire of all harpsichordists.

Jory Vinikour is recognized as one of the outstanding harpsichordists of his generation. A highly diversified career brings him to the world’s most important festivals and concert halls as recital and concerto soloist, partner to several of today’s finest singers, and as one of the most visible continuo performers. Born in Chicago, Jory Vinikour came to Paris on a scholarship from the Fulbright Foundation to study with Huguette Dreyfus and Kenneth Gilbert. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public’s attention, and he has since appeared in festivals and concert series throughout much of the world.

Mr. Vinikour appears regularly as harpsichordist/continuist at the Paris Opera, Netherlands Opera, Salzburg Festival, Teatro Real de Madrid, and Glyndebourne. Jory is also a regular presence at the Zurich Opera, and has appeared on their stage (disguised as Handel!) with Cecilia Bartoli in Handel’s Il trionfo del tempo é del disinganno. He performed Stravinsky’s solo harpsichord part in productions of The Rake’s Progress at the Théâtre des Champs-Elysées, the Paris Opera and Théâtre de la Monnaie.

Dorian Sono Luminus - DSL92154

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Pièces de Clavecin en Concerts

Pièces de Clavecin en Concerts


Rameau:

La Coulicam in E flat major

La Livri in C minor

Le Vézinet in C major

La Laborde in G major

La Boucon in G minor

L'Agaçante in G major

Premier menuet en rondeau in G major

Deuxième menuet en rondeau in G minor

La Ploplinière in A major

La Timide, Premièr rondeau gracieux in A minor

La Timide, Deuxième rondeau gracieux in A major

Premier tambourin in A major

Deuxième tambourin en rondeau in A minor

La Pantomime in B flat major

La Rameau in B flat major

La Forqueray in D minor

La Cupis in D minor

La Marais in D major


Rachel Podger (baroque violin), Trevor Pinnock (harpsichord), Jonathan Manson (gamba)

“Rameau's 1741 collection represents a major and entirely logical departure from the trio sonata and suite traditions that had held sway in Western European chamber music since the beginning of the 17th century. Rameau's textures are uniquely complex, demanding of the players a heightened awareness of their role in the musical texture at hand.
These are balanced and refreshingly musical performances that will draw you back again and again to savour the gracefulness and the kaleidoscopic blending of instrumental colours they bring to the music. Pinnock's playing is lively and engaging, inspiring and inspired. His accuracy is breathtaking, his ornamentation jewellike.
Podger and Manson respond with clarity and shapely phrasing, even in the hair-raising 'Tambourins' (Troisième Concert).
A movement such as 'La Boucon' (Deuxième Concert) is made wonderfully languid, 'La Tim- ide' (Troisième Concert) sinuous but never oppressively so; and 'La Pantomime' (Quatrième Concert) is altogether civilised. And 'La Marais' (Cinquième Concert), which concludes the CD, reminds us how well the tone of a violin and viol can blend when produced by players of this calibre.”
Gramophone Classical Music Guide, 2010

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