The Indifferent Rameau

The first time I discovered Jean-Philippe Rameau was when I piously clicking every single baroque music thumbnails on streaming platforms. That time I was obsessed with the fiery Italian baroque style, particularly led by Venetians composers, particularly Vivaldi. I was a big fan of him. But, the fanaticism between northern and southern fandom, specifically between Bach’s and Vivaldi’s fans, made me feel like an outsider–which, to be honest, shouldn’t be a surprise since I don’t play instruments at all. These people were dragging in stuff I don’t relate with, including religions. So, I tried to find enjoyment of inclusivity in Tumblr classical music community, which is full of memes and funny roleplays, until I found out the existence of composer ships, both in fanart and fanfiction. It wasn’t a big deal, really. Any fandom has shipping culture, but it caused me losing a certain amount of humanity. So, with my difficulties to separate an art with its associations, it was kind of unfortunate for me to ended up associating Vivaldi with those experiences.

Finding out Forêts paisibles was such a breathe of fresh air. Jean-Philippe Rameau’s compositions are weird and funky for western baroque aesthetic, but definitely not that much for someone growing up with hadroh and habsy like me. The name Rameau itself sounds kind of indigenous to me, so I thought he was like Agustin Barrios, a Non-European classical music figure. He wasn’t. He was a pure European with an admirable bravery of displaying such aesthetic. I’m guessing it’s probably because of the egalitarian nature of French courts, compared to its neighbors, which was shown by the open-mindedness of the society that time, hence it gave space for Rameau to went all-in. He was the kind of artist I’m familiar with the concept of “what an artist is” in my country, which is after cultural aesthetic. By that, he set himself apart from other composers who were investing their time more in religious ‘fanworks’.

Another thing about Rameau’s indifference is his aesthetic. Nihil sub sole novum, artists always have been copying each other, including Rameau himself. But, if you ask me which composers he was after, I would say it was himself–then Lully. When I listen to a baroque composer I’ll compare them to another composers simply because I like the sense of noticing the references a composer used from another composers. But, as for Rameau, it’s a bit difficult to see other composers in his works. It’s probably what made him look like… just a composer, not someone whose image is recreate-able. Judging by the lack of his fandom.

Obviously, I still notice here and there in his compositions, whether it reminds me of Lully, Vivaldi, and Bach. But, still, it’s like he’s out there from another planet. He once indeed said, “I try to conceal art with art.” So, apparently, he made sure to did what he had promised even ages after he was gone. It’s just make sense since some articles stated that he made himself an enemy for most musicians in his era. Nothing’s cooler than a man who aware of who and what he is doing though. Probably the reason why he was so entitled to threw a dog out off a window because its barks was out of tune. Hopefully, he didn’t do the same with his kids.

Rameau, just like Corelli and Bach, was putting indulgent flavor in his compositions. Such composers tend to have more prominent bass lines compared to others. He approached music in analytical manner and then managed to express it in a detailed grandiose way. Pretty different with what I used to experience with Vivaldi, whose approach was more detached. Vivaldi observed what was working and do something different for the sake of being different, and managed to express it in impulsive way. As someone who tends to not doing anything but listen when it comes to baroque music, the vigor of impulsivity worn out eventually. And the continuous satisfying discovery of details I overlooked at the first listening is mostly what makes me stay. Even when I reached the point where I already know all of the details, the memory of gradual discovery remains.

That being said, Vivaldi himself is still worth to listen. I still love guessing the RV number of his piece I’m listening. I’ve been going through a lot with his compositions. But, change in musical taste is simply expected as we maturing. Anyway, I heard Geminiani is worth to explore.