Rameau Dardanus—orchestral suite. English Baroque Soloists / John Eliot Gardiner.

Erato digital (Full price) (LP) NUM75040 (Cassette) MCE75040.

Dardanus was Rameau's third excursion into tragedie-lyrique; he completed it in 1739 but it was not a success and so modifications were made for performances later in the year. Still unsatisfactory, Rameau was forced to look at the opera anew and, for a revival in 1744, no fewer than three acts (Three, Four and Five) were virtually composed afresh. Further changes, smaller this time, took place for a revival of 1760. Not exactly a success story on the face of it, but almost the more necessary on this account, to stress the fact that Dardanus contains some of Rameau's very finest orchestral music. The spectrum is vast, ranging from airy, lightly-scored Tambourins to the broad, sweeping gestures of the closing Chaconne—unquestionably amongst the composer's profoundest utterances. There is a tragic grandeur about this music which complements the subject matter of the opera more appositely than usual. There are plenty of harmonic delights, too, such as the boldly individual shifts of the Act 3 Menuets, as well as the characteristically colourful instrumental palette, so very much Rameau's own.

This new release contains a very substantial amount of the orchestral music from both the main versions of the opera—little short of an hour's playing time in all. It is a delight from start to finish. John Eliot Gardiner has long been recognized for having something special to say about Rameau's music as anyong fortunate enough to have been present at his concert performance of Dardanus in London, several years ago, will know. Here, once again, he brings the music to life in an irresistible manner, drawing out over and over again the myriad details of Rameau's subtle orchestral palette. In this he is well supported by the English Baroque Soloists who are on their best form, responding to the nuances of texture and allowing us to savour the rhythmic vitality of the score. I have said already that Dardanus contains some of Rameau's most compelling music; nowhere is it more so, perhaps, than in the menacing, warlike Entree of Ismenor. My first introduction to this marvellous music was by way of an old, and now seemingly very hard to find, recording of excerpts from Rameau's operas directed by Nadia Boulanger (Brunswick mono AXTL1053, 8/54—nla). That extract, this record, and Gardiner's concert performance of Dardanus all emphasize the need for a satisfactory recording of the entire work. It's a challenge, but it is overdue. Fine pressings, and a fine recorded sound add up to an issue of distinction. Bravo!

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