{"id":84966,"date":"2020-12-19T22:46:50","date_gmt":"2020-12-19T20:46:50","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=84966"},"modified":"2020-12-19T22:46:50","modified_gmt":"2020-12-19T20:46:50","slug":"theory-technique-and-emotion","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/theory-technique-and-emotion\/","title":{"rendered":"Theory, Technique And Emotion"},"content":{"rendered":"
<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[281],"tags":[],"acf":{"old_id":"84966","type":"no","iframe":"","writer":79834,"related_cahpter":"636","type_929":"2","show_author_image":false,"old_create_date":"","old_url":"","post_main_content":{"description":"A new series - this time: Jean-Philippe Rameau ","content":"

Jean-Philippe Rameau (1683 – 1764) \u201cLaboravi Clamans\u201d (\u201cI am weary with calling\u201d)<\/span><\/p>\n

The composer Jean-Philippe Rameau is known today as one of the great composers of the French opera. And so, the relative anonymity in which he lived for the first 40 years of his life is rather strange. During those years, he was an organ player in a church, and composed some religious music, as well as many pieces for keyboard which are played and known to this day.\u00a0<\/span><\/p>\n

His name became known in musical history as a theoretician, with the publication of his book, \u201cTreatise on Harmony\u201d in 1722. This book was the first work to treat the chord as an independent entity, part of the musical composition.\u00a0<\/span><\/p>\n

In his book, following the exposition of his theoretical approach, there is a section that is a guide to composition, where Rameau brings a short motet for five voices and bass, based on verse 4 of Psalm 69. He uses this selection to demonstrate his principles in multi-vocal composition. And, indeed, the work is a masterpiece of the interweaving of voices, with imitation and complex counterpoint, not only their tones, but the verbal ideas that they bear.<\/span><\/p>\n

Rameau divides the verse into four brief phrases: \u201cI am weary with calling\u201d \u201cMy throat is dry\u201d \u201cMy eyes fail,\u201d\u00a0 – \u201cI wait for God,\u201d (in Latin, it comes out a bit longer). He explains in the book that each phrase is set to its own melody, which becomes the basis for the back-and-forth imitation that he calls a \u201cfugue.\u201d The four fugues interweave with one another with breathtaking complexity. One can follow along with the Latin words that appear in the video, which are sung by the five voices.\u00a0<\/span><\/p>\n

Despite the technical and theoretical nature of the work, it is wonderfully successful at expressing the emotions that this heart-breaking verse arouses.<\/span><\/p>\n

Text: Psalms, LXVIII, 4 (Vulgate)<\/span><\/p>\n

Published in Rameau’s ‘Trait\u00e9 de l’Harmonie’ (Paris: Jean-Baptiste Christophe Ballard, 1722)<\/span><\/p>\n

Members of Collegium Vocale Gent, Ch\u0153ur et Orchestre de la Chapelle Royale, conducted by Philippe Herreweghe, 1982<\/span><\/p>\n

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