The reputation of Rameau as one of the
most influential and important composers
of dance music raises one high expectations.
I’m pleased to report that this disc
of suites from his ballet-operas meets
those expectations. It is a first rate
representation of this composer’s imaginative,
succinct and expressive music.
These three suites
are extracted from stage works whose
construction as two equal parts of ballet
and opera reflected the priorities and
sensibilities of the eighteenth century
French court. As Simon Heighes explains
in the liner notes, "dance was
the life-blood of the French court,
and it permeated every sphere of musical
life." The elegance and rhythmic
drive of the music are infectious, and
it becomes incredibly easy to visualize
what must have been impressive feats
of choreography.
The European Union
Baroque Orchestra under the direction
of Roy Goodman does this music justice.
Tempi are brisk and effective without
ever sacrificing the intense levels
of detail that lend this music its distinctive
sound. Intonation is consistently spot-on,
and ensemble issues are rare. My only
complaint is an occasional heaviness
in the continuo that seems to weigh
down the soaring sounds of the upper
strings. Obviously, Goodman and his
orchestra are well-versed in the academic
aspects of baroque performance; however,
they approach this music in an exciting,
expressive way. Hearing ballet music
divorced from the dance is an interesting
undertaking as the music is the primary
focus. The players must imbue the music
with extra interest and meaning as there
is no dancing with which to share the
burden of "selling" the piece.
This disc is a success because it fills
the void quite well: the music stands
alone beautifully.
All tracks are strong,
but a few stand out. "Orage"
from the Platée Suite
is virtually flawless. Its quick, sweeping
lines depict the storm perfectly, and
the orchestra phrases brilliantly. The
quick figures are exact, and perfectly
together, yet the overall arch remains
in place. "Air pour des fous gais
et des fous tristes" from the same
suite is another exciting track. Rameau
uses different orchestrations to portray
the "fous gais" and the "fous
tristes." It is a hilarious effect,
played well by Goodman’s group. One
of Rameau’s most famous overtures, that
of Pigmalion is included on this
disc with complete success.
This disc is a wonderful
addition to Naxos catalogue. Congratulations
to the label, the orchestra, and to
Roy Goodman. This is an essential disc
for ballet lovers, Baroque enthusiasts,
and Francophiles.
Jonathan Rohr
Daniel Hope (violin) 
