Rameau and Jadin: The Cusp of Classicism in Changing Times
The 1700’s began with the professional dancers dedicating their life to art and competing through producing art for the public’s approval. These professional dancers, considering that they were from both the lower and middle classes, strove for positions in a society that had strict social systems. The 1700's was also the time when the French and American Revolutions were beginning, Industrialization was on the way, and literacy was increasing. While dancers strove for popularity, the journalists in this era promoted rivalry amongst artists.
In the 18th century, ballet, specifically, was used to tell stories; not on mythical creatures, but on the lives of the ordinary people. Originally conceived in 1789, ballet was discovered by choreographer Jean Dauberval, upon witnessing a daughter being scolded by her mother while her lover escapes through the back exit. Originating from a real life story, Dauberval’s other choreographed ballet movements highlight stories from real life events and their emotions rather than gods, heroes, and mythology.
“During the early 18th century and the reign of King Louis XV, classicism gave way to Baroque (or, commonly, early dance): varied forms of dances flourished in opera-ballets: the gavotte, the minuet, the chaconne, the jig... Whilst it diversified and evolved significantly, ballet remained a divertissement. Jean-Baptiste Rameau’s Les Indes Galantes (1732) a master piece of the time, characteristically embodies the Baroque style of the period”
- Laurine Martha | Ballet in Paris: a little History of the French Technique
Jean-Baptiste Rameau’s Les Indes Galantes has a prologue and four entrees. One interpretation by choreographer Bianca Li of Les Indes Galantes - Les Sauvages perfromed by Les Arts Florissants conducted by William Christie became controversial due to the nature of the performance. The music was interpreted through the use of characters such as wild beasts and mythical creatures. As an Opera Ballet, Nicolas Rivenq and Patricia Petibon played the roles of Adario and Zima respectively. The main characters, considering that they were singing, only made use of minimal movements, while the ensemble of dancers used grand movements in order to portray the lively mood that was presented by the music.
Les Indes Galantes | Opera Ballet
Born in Versailles in 1776, French composer Hyacinthe Jadin orchestrated in the late-Classical era in France, a place recognized for piano music indicating the coming of the Romantic Era. Hyacinthe Jadin certainly received his music education from his father, Jean Jadin, who was a violinist who worked for the Habsburg Court. Due to his father’s connections, Hyacinthe Jadin later on learned piano under the tutelage of N.J. Hullmandel. Young Hyacinthe published his first work in 1785, and in 1789, after playing one of his piano concertos at the Concerts Spirituels, both Hyacinthe Jadin and his brother, Louis Emmanuel, earned positions as keyboard players at the Theatre de Monsieur. In 1792, he joined his brothers in Paris, succeeding Louis Emmanuel as the harpsichordist at the Feydeau Theater.
Through his performances, Hyacinthe Jadin easily gained his fame as a keyboard virtuoso, making him the first piano professor at the Paris Conservatoire.
Due to health reasons, specifically Tuberculosis, he returned to Versailles in 1799, where his colleagues gave him a benefit concert. Dying at the young age of 24, Jadin only had a few years to enjoy his growing fame. Jadin’s works include both vocal and choral works on revolutionary themes; 3 piano concertos, 12 string quartets, piano sonatas, and other works on the piano. His piano works, especially the sonatas, are most remembered due to its Classical foundation that displayed characteristics of the Romantic Era.
Sonate No. 2, Op. 4
I. Allegro molto II. Menuet Trio
III. Finale, Allegro
The first part of Sonata No. 2 in Allegro Molto formulates a theme that resides in the 3 parts of the Sonata. Part I is exhibited in a flowy manner with accentuations and dynamics. Part II begins in a heavier and louder tone. It presents both extremes, depicting heavy tones and smooth melodies. The Menuet Trio focuses more on the bouncy tunes, highlighting a weighty theme. Part III, Finale allegro, closes the theme introduced in Sonata 2 in a lively manner. The melody is given more attention in the Finale. Part III of Sonata No. 2 has a joyous tone with fluctuating melodies.
Sonate No. 1, Op. 4
I. Allegro II. Andante
III. Presto
The peaceful motif of Sonata No. 1 is initiated in Part I, Allegro. It is high-spirited and played in a jumpy manner. The melody of Part II of Sonata No. 1 in Andante pours calmly in a buoyant manner. The sonata’s serene theme is perfectly held through the andante’s dynamics. Most of Part III of Sonata No. 1 in Presto is displayed in illuminated tunes. It shows an ecstatic mood that is perkily represented by its melody. It makes use of repeated sequences, each differentiated through its intensity.
Sonate No. 3, Op. 4
I. Allegro moderato II. Adagio
III. Rondo Allegreto
Sonata No. 3, Part I in Allegro Moderato renders a gloomy subject. It makes use of minimal dynamics, and does so when accentuating the intensity of the melody. It quickly returns to its mellow sound. The gloomy theme of Part I extends to Part II of Sonata No. 3 in Adagio. Its melancholic nature is brought to life by the dragging melody. Part III of Sonata No. 3 in Rondo Allegretto begins with a grand melody that is repeated to uplift the droopy mood of the Sonata. Part III is adapted heftily with loud dynamics in the scales.
Sonate No. 3, Op. 6: I. Allegro moderato, II. Adagio, III. Allegro assai*
The upbeat tempo of Part I in Allegro moderato sets the exhilarating theme of the Sonata. The melody is abundantly played with sequences of a louder volume to highlight the subject of the Sonata. Part II in Adagio is portrayed in a calm manner, while upholding the jolly theme of Part I. It is more neutral and quiet in nature. Part III in Allegro assai enters in a cheerful manner, returning the electrifying motif of the Sonata. It does not descend to the still manner of Part II. It closes the Sonata in an agitated manner.
Because of the particularization of Music and Dance, both the choreographer’s and the composers’ work are seen in a different light and are interpreted in such a way that a new story can be formulated. It makes storytelling much more effective especially when presented to audiences with minimal knowledge on both music and dance. With this incorporation, the works of the composers and choreographers are not only brought to life, but they are also recognized in a manner that is much more appropriate and relate-able, depending on the era.
*The rest of his works in Jadin: Sonates pour pianoforte are available on Spotify