MUS 340 Jean Phillippe Rameau

Kok Sieng (Joshua) CHANG

Dr. Mark Howard
2020.05.07

Jean-Phlippe Rameau
Les Fêtes d'Hébé (1739)

I. Backstory（History & Background）

A. History
i. Jean-Philippe Rameau wrote Les Fêtes d'Hébé under the patronage of La
Pouplinière.1
ii. Rameau was at the heights of his musical powers when he composed this
opera-ballet.2
iii. Operas that came before Les Fêtes d'Hébé
a. Hippolyte et Aricie (1733)
b. Les Indes galantes (1735)
c. Castor et Pollux (1737)

B. Libretto
i. The attribution of the opera-ballet’s libretto was not without
controversy. At first, there was no mentioned of the libretto’s name in
the earlier editions.3
ii. Antoine Gautier de Montdorge, La Poupliniere and Gentil-Bernard, Mme
Bercin were all mentioned contributing to the libretto. Most poets at that
time refuse to claim the libretto because of its “mediocre result”.4
iii. It is believed that this opera-ballet was initially a collective effort from
the “farmer-general’s circle” as an unsigned letter stated “Let the music
of our ballet be enjoyed as much as it deserves, and for this once let us
ask for nothing further.”5
iv. The first edition of libretto was heavily criticized. A month after first
performance, Pellegrin was asked to step in to write a revised libretto for
the opera.6 The revision of the libretto, with more music added, was also
done to an extend that “nouvell entrée” was included in one of the act’s
title.7

1
Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work, (New York: Dover Publications, 1957), 313-314.
2
Graham Sadler, “From the Birthplace of Venus to the Banks of the Seine: Opera-ballets by Mondoville &
Rameau,” Early Music, Vol. 26, No. 4, Metastasio, 1698-1872 (Nov, 1998), 695-697.
3
Girdlestone, 313-314.
4
Ibid.
5
Ibid.
6
Ibid.
7
Graham Sadler, "Fêtes d’Hébé, Les," Grove Music Online, 2002; Accessed 7 May. 2020. https://www-
oxfordmusiconline-com.ccl.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-
9781561592630-e-5000006119.
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

v. Revisions made as compared to the first edition:

a. Entrée II Scene 1: New music and words, also shortened
b. Entrée II Scene 2 & 3: Lycurgus is omitted
c. Entrée II Scene 2 & 3: New aria for Tyrtaeus and long chorus
d. Entrée II Scene 4: Unchanged, but music rewritten in E major
rather that D minor, and less the tragedy (was said to have too
much tragedy for an opera-ballet)
e. Entrée II Scene 4: Oracle dansé substitute by a piece with
priestesses of Apollo and Spartan women, “warlike stpes were
replaced by a saraband for the priestesses, a chorus for Iphise and
the women, a gavotte and a prelude gai, and also guerrier”8
f. Entrée II Scene 7 & 8: Combined into one with a short duet for the
lovers accompanied only with continuo. Noisy chorus in Scene 7
was also retained
g. Most of the serious and tragic parts plus the Guerrier choruses
were omitted in the revisions
h. Prologue & Entrée I remained untouched9
vi. Pellegrin was recognized among the poets as a “less-than-perfect poet in
a literary culture” just because he write commissioned poems on a
living.10
a. Though lacking a strong libretto, Rameau’s music managed to
compressed the text enough to keep the dramatic pacing and
momentum to keep the audience interested. Pellegrin’s revision
especially on the second act helped greatly in Rameau’s favor.

C. Opera-ballet
i. The term opera-ballet was first mentioned during the mid-1730s.11
ii. In Encyclopedie methodiquem (1791), opera-ballet was defined as “It was
a way of having short opera, of a graceful or gay genre, where dance was
more naturally brought about than it was ordinarily in a tragedy, very

8
Girdlestone, 331.
9
Ibid, 332-334.
10
Charles Dill, “Pellegrin, Opera and Tragedy,” Cambridge Opera Journal, Vol. 10, No. 3 (Nov., 1998), (Cambridge:
Cambrigde University Press), 247.
11
Graham Sadler, "Fêtes d’Hébé, Les," Grove Music Online, 2002; Accessed 7 May. 2020. https://www-
oxfordmusiconline-com.ccl.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-
9781561592630-e-5000006119. (N. Framery, P.-L. Ginguené)
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

likely to succeed a serious subject, & to try the talents of young

composers.”12
iii. In the working relationship of an opera ballet, the composer and librettist
are subordinate to the ballet master. The ballet master was the first to be
consulted on characters development, disposition of the subject and the
divisions of parts.
iv. In Les Fêtes d'Hébé, Rameau aims to present three art forms: poetry,
music and dance. These forms are represented by Sappho, Tytaeus and a
shepherdess, Eglé, pupil of Terpsichore. These are also the Talents
lyriques (sung lyrics) that is mentioned on the subtitle of the opera-ballet.
It is said to incorporate Rameau’s lyric, tragedy and pastoral range all in
one opera.13

D. Les Fêtes d'Hébé Manuscript Covers:

12
Sadler.
13
Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work, (New York: Dover Publications, 1957), 375-377.
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

Figure 1. Front Cover of Les Fêtes d'Hébé (First Edition)

MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

Figure 2. Front Cover of Les Fêtes d'Hébé (1789 Full Score Edition)
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

i. Reception of the Opera

a. Premiered on May 25, 1739.14
b. It was an instant success. 71 performances for its first run.
Revived again in 1747-1748, 1764-1765.

II. On Stage（The Opera）

A. Synopsis15
i. Prologue
The theme of the present work is hinted at in the subtitle (in Rameau’s
day the work was generally known as Les talens lyriques) and quickly
established in the prologue: the gods’ cupbearer Hebe (soprano), tiring of
Olympus, persuades her attendants to fly with her to the banks of the
Seine, there to celebrate those gifts most cherished on the operatic stage
– poetry, music and dance. These ‘lyric talents’ provide the subject
matter of the ensuing entrées.

ii. Première Entrée (La poésie)

“On the island of Lesbos, the poet Alcée [Alcaeus] (bass) and poetess
Sappho (soprano) are in love. As a consequence of the jealous scheming
of Thélème [Thelemus] (haute-contre), Alcaeus has been banished by
Hymas, King of Lesbos (bass). But Hymas is greatly touched by an
allegorical entertainment mounted in his honour by Sappho, during
which she reveals Thelemus’s treachery. The king rescinds the order and
the lovers are reunited.”

iii. Deuxième Entrée (La musique)

The Spartan princess Iphise (soprano) is betrothed to Tyrtée [Tyrtaeus]

(bass), whose singing produces legendary ethical effects. An oracle
reveals that she must marry the warrior who vanquishes the Messenian
army, which is already threatening the city. To win Iphise, Tyrtaeus uses
the power of his vocal art, inspiring the Spartans to defeat their attackers.

14
Graham Sadler, "Fêtes d’Hébé, Les," Grove Music Online, 2002; Accessed 7 May. 2020. https://www-
oxfordmusiconline-com.ccl.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-
9781561592630-e-5000006119.
15
Ibid.
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

iv. Troisième Entrée (La danse)

The shepherdess Eglé (soprano and dancer), the favourite of Terpsichore,

muse of dancing, must choose a husband. Her choice falls on an unknown
stranger, who later reveals himself as the god Mercure [Mercury] (haute-
contre). At his request, Terpsichore (dancer) receives Eglé into her court
as Nymph of the Dance.

III. Orchestra Pit（Analysis & Performance Practice）

A. Instrumentations
i. Voices (5 part choir)
a. Soprano/dessus: Hébé, L’amour, Sapho, Une Naiade, Eglé
b. Mezzo Soprano/dessus: Iphise, Une Lacédémonienne, Une
bergère
c. Tenor/haute-contre: Momus, Le ruisseau, Thélème, Lycurgue,
L’oracle, Mercure
d. Baritone/basse: Alcée, Hymas, Le fleuve, Tirtée, Eurilas
ii. Instruments
a. Violin 1
b. Violin 2
c. Haute-contre
d. Taille de Viollon
e. Cello
f. Bass de violons
g. Double bass
h. Flute
i. Oboe
j. Bassoon
k. Horn
l. Trumpet
m. Mussette (bagpipe-like instrument)
n. Galoubet (Pipe instrument)
o. Percussion
p. Harpsichord
q. Continuo: cello, bass viol, double bass, harpsichord.
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

B. Movement Analysis (Act II Scene V)

Scene directions on Piano Reduction score:

“ Le font du théâtre s'ouvre pour laisser voir a travers des portiques de
verdure un lointain frappe de lumiere; le point de vue est termine parle
cours d'un fleuve et pon apercoit sur le devaut de la decoration une
nayade couchee sur son urne”
Translation:
“The back of the stage opens and discloses a distant prospect struck with
light seen through portions of greenery; the vista is bounded by a river
and a Naiad reclining upon her urn is seen in front of the setting.”16
i. Choeur (Chorus of the Rivermen/Mariners) 321

Dansons tous, dansons, chantons ! Dance everyone, let us all dance and sing!
Profitons des plus dou x moments, Let us take advantage of the sweetest
Des moments charmants, moments or the most charming moments
Pour d'heureux amants! or happy lovers!

Les langueurs, les larmes, Langour, tears,

Les soins, les soupirs, troubles sings,
Les alarmes, fears,
Ne troublent point nos plaisirs. all these trouble not all our pleasures17

16
Girdlestone, 320-321.
17
John Sigwick, Program notes to Les Fêtes d'Hébé, performed by William Christie, conductor with Les Arts
Florissants, Orchestra, Erato Disques S.A. Paris, 3984-21064-2, 1997, CD.
MUS 340 Jean Phillippe Rameau
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Dr. Mark Howard
2020.05.07

• Folk-like chorus that intertwine between the major-minor

tonality18
• Rameau on modulation
o “Modulation, immediately reveals the key in use and
consequently the place a certain note occupies in this key,
the chord it should bear and the fundamental sound which
may be implied, supposed, or borrowed there.”19
o A good modulation involves a well established tonic key in
the beginning. “No matter in what key we begin, we
should modulate in this key for at least three or four
measures.” Christensen then added that “we should then
pass to the dominant, and onwards to other related keys,
making sure that such modulations are appropriate to the
original key, not tarrying too long in any one, nor returning
too often to the same key, and finally making sure we
firmly restate the original key at the end.”20
o In Code de musique, Rameau defined modulation as “the
art of conducting a melody and its harmony as much in the
same key as from one key to another.”21
o “Allows the reader to feel how the natural descent of
voice is harmonically driven by the fundamental bass.”22
• Similar to Rameau’s Hippolyte (dances of Act 1) and Gloria refrain
of Les anges dans nos campagnes.23
• Overall a joyous chorus to dance with.
• Please refer to score for more annotations.

ii. Premier et Deuxième Tambourins (Tambourin I & II)

• Chordal and rhythmic. Also intertwine between the major-minor
tonality with unexpected chord sequences.24
• Continuing the joyful emotional content.

18
Girdlestone, 321.
19
Thomas Christensen, Rameau and Musical Thought in the Enlightenment, (Cambridge: Cambridge University
Press, 1993), 171-172.
20
Ibid.
21
Ibid.
22
Mark Howard, “The Human Body or Figure and It’s Integral Role in Rameau’s Code de Musique Pratique and
Nouvelles Réflexions sur le Principe Sonore (1760), 23.
23
Ibid.
24
Ibid.
MUS 340 Jean Phillippe Rameau
Kok Sieng (Joshua) CHANG
Dr. Mark Howard
2020.05.07

iii. Choeur

Dansons tous, dansons, chantons ! Dance everyone, let us all dance and sing!
Profitons des plus dou x moments, Let us take advantage of the sweetest
Des moments charmants, moments or the most charming moments
Pour d'heureux amants! for happy lovers!25
• Similar to the first chorus but adding texture by implementing
more call and response between the chorus parts.

C. Performance Practice on Singing the French Language:

i. “Rameau has taken advantage of the verse, which is better than usual,
and has exploited the sonorous nasal syllables which are the most
musical sounds in the French language.”26
ii. In an experiment Rameau conducted in Nouveau système (1726), “the
final syllable (“-e”) of the verb aime in each cadence is paired with a
guidon that represents either the dominant or tonic depending which
note is above the syllable “aim-.” What lies beneath these cadences is
modulation within a single key, that sense of movement that drives the
music forward.”27
iii. Jean-Baptiste Bérard mentioned in L’art du chant (1755) that legato
singing is connecting syllables by a “linking sound that is sung softer than
the words themselves.”28
iv. Liaisons of the French language and Rameau’s fundamental bass and
modulation help to elevate the smoothness and virtuosic aspect of the
dance chorus.
v. Johann Quantz in his critique on French singing (Versuch einer Anweisung
die Flöte traversiere zu spielen, 1752):
“The French manner of singing is not designed, like the Italian, to train
great virtuoso…They require facility of the tongue for pronouncing the
words, more than dexterity of the throat… Their arias are mostly written
so that anyone who wants may sing them… the only distinctive quality of
their singers is their acting ability…”29

25
Sigwick.
26
Girdlestone, 321.
27
Howard, 23.
28
Martha Elliott, Singing in Style: A Guide to Vocal Performance Practices, (New Haven: Yale University Press,
2006), 64.
29
Ibid, 85.