Grands Motets Deus Noster Refugium, composed before 1720. It is based on the Psalm 45. It might have been composed for the Concert de Lyon. Fonds  Decroix, French National Library (BNF). Quam dilecta, composed between 1713  and 1722. It is based on the Psalm 83. The original version is lost. It is know through a later version,. Fonds Decroix, BNF. In Convertendo, composed between 1713 and 1715. It is based on the Psalm  125. The original version is lost. It was completely reworked to be performed for the Holy week in 1751 at the Concert Spirituel. The manuscript is at the BNF. Fonds Decroix. Laboravi clamans, 1722. Rameau used it as an example for the part dedicated to the  "Fugue" in his Treatise on Harmony. It is a movement based on the fourth verse of the Psalm 68 (Salvum me fac deus). This might  be an extract of a lost motet. Exultet coelum laudibus, mentioned in the catalogue of the Académie du Concert de Lyon, is lost. Inclina domine, this work was sometimes attributed to Rameau. Requiem, fragment, Bibliothèque du Conservatoire de Paris. Diligam te, this work, mentioned by Decroix, is lost.

 

Stage Works (Chronologic Order) L'Endriague, opera comique in 3 acts, libretto by Piron, Saint-Germain Fair, performed by Dolet's troup, 3 February 1723. Les Jardins de l'Hymen ou La Rose, opera comique in one act, libretto by Piron, Saint-Germain Fair, 1724. Revived in 1744. Les Sauvages, rondeau, 1725. Composed for the Fair, and revived in Les Indes Galantes. Rameau was asked for a dance of character for the performance of true "Savages", Indians from Lousiana. L'Enrôlement d'Arlequin, opera comique in one act, libretto by Piron, Fair Theatre, February 1726. La Robe de dissention ou le Faux Prodigue, opéra comique, libretto by Piron, Saint-Laurent Fair, 7 September 1726. Samson, libretto by Voltaire, never performed (the music is lost) (years  1731-1735 ?) Hippolyte et Aricie, tragedy in 5 acts and a prologue, libretto by Simon Joseph Pellegrin, after Racine's Phedra, 1st October, 1733, revived in 1742, 49, 57; 58, 67... Les Courses de Tempé, act by Piron, Comédie Française, 1734. Les Indes Galantes, ballet héroïque in  3 entrees and a prologue, libretto by Fuzelier, 23 August 1735, revived in 1743, 51, 61,  62, 64, 73... Castor et Pollux, tragedy in  5 acts and a prologue, libretto by Gentil-Bernard, 24 October 1737, revived in 1754 (reworked), 64, 65, 78, 79, 80, 82 & 1784. Les Fêtes d’Hébé ou Les Talens Liriques, ballet in  3 entrees and a prologue, several librettists, 21 May 1739, revived in 1747, 56, 65. Dardanus, tragedy in one act and a prologue, libretto by Le Clerc de la Bruère, 19 November 1739, revived in 1742, 59, 63, 71... La Princesse de Navarre, intermède for Voltaire's play, comédie-ballet  in 3 acts, for the Dauphin's wedding, 23 February 1745. Les Fêtes de Ramire, opéra-ballet, 1 act, libretto by Voltaire, Théâtre des Grandes-Ecuries, Versailles, 22 December 1745. A work based on the divertissements composed for La Princesse de Navarre. Platée ou Junon jalouse, ballet bouffon in 3 acts and a prologue, libretto by Jacques Autreau et Le Vallois d'Orville, Versailles, 31 Mars 1745 ; Paris 1749-50, revived from 1753 to 1773. Les Fêtes de Polymnie, Heroic Ballet in 3 acts and a prologue, libretto by Cahusac, 12 October 1745, revived in 1753. Le Temple de la Gloire, Fête in 3 acts and a prologue, libretto by Voltaire, Versailles, 27 November 1745, Paris 1745. Nélée et Myrthis, pastorale act, librettist unknown, 1745 (?). Rameau's handwritten score, like Zéphire, is titled : Les Beaux Jours de l'Amour. Zéphire, pastorale act, librettist unknown, date unknown. Rameau's handwritten score, like Nélée et Myrthis, is titled : Les Beaux Jours de l'Amour. Nélée et Myrthis and Zéphire seem to have been the two parts of the same work. Les Fêtes de l’Hymen et de l’Amour ou Les Dieux d'Egypte, heroic ballet in 3 acts and a prologue, libretto by Cahusac, composed in occasion of the  Dauphin' second wedding, Versailles, 15 March 1747, Paris, 1748. Zaïs, heroic pastorale in 4 acts, Cahusac, 29 February 1748. Pigmalion, ballet in one act, libretto by Ballot de Sovot after Houdar de Motte, 27 August 1748, & 1754. Les Surprises de l’Amour (version 1), ballet in 2 acts and a prologue, libretto by Gentil-Bernard, 29 October 1748, theatre of the Petits Appartements, Versailles. The ballet celebrated the Peace of Aix-la-Chapelle,  and consisted of  : Le Retour d'Astrée,  (Vulcain et le Temps) (prologue) Adonis, La Lyre enchantée. The ballet was revived in 1757, at the Royal Academy of Music, but completely reworked. Naïs, opéra pour la Paix (d'Aix-la-Chapelle), heroic pastorale in 3 acts and a prologue, libretto by Louis de Cahusac, 22 avril 1749, revived in 1764. Zoroastre, tragedy in 5 acts, libretto de Louis de Cahusac, 5 December 1749, revived in 1756, 1770... La Guirlande or Les Fleurs enchantées, opera-ballet in 1 act, as a continuation to the Indes Galantes, libretto by Marmontel, 1751, revived in 1752 and 1753 at the Court. Acanthe et Céphise or La Sympathie, heroic pastorale in 3 acts, libretto by Marmontel, performed in Versailles in occasion of the Duke of Burgundy's birth (Louis XVI's brother), and in Paris on 19 November 1751. Daphnis et Eglé, heroic pastorale in 1 act, libretto by Collé, Fontainebleau, 23 or 30 October 1753. Linus, tragedy in 5 acts, libretto by Le Clerc de la Bruère. There were rehearsals, but the work was never performed. Only the libretto survived and the score of two pieces for first violin (fonds Decroix). Lysis et Délie, pastorale in 1 act, libretto by Marmontel, 1753. Never performed. The music is lost. Sibaris, ballet in one act, libretto by Marmontel, Fontainebleau, 13 November 1753. La Naissance d'Osiris or La Fête Pamilie, allegorical ballet for birth of the Duke of Berry (future Louis XVI), libretto by Cahusac, Fontainebleau, 12 October 1754. Anacréon, ballet in 1 act,  libretto by Louis de Cahusac, Fontainebleau 23 October 1754, revived in 1766. (different from the third entry of Les Surprises de l'Amour also titled Anacréon on a libretto by Gentil-Bernard). Les Surprises de l’Amour (version 2), ballet in 4 acts, 31 May 1757, Royal Academy of Music, Paris. The version was completely reformed. The prologue of 1748, that was circonstancial, was cancelled, and the various entries were changed or modified. - Adonis became L'Enlèvement d'Adonis (libretto by Cahusac). - La Lyre enchantée, - Anacréon, new entry (libretto by Gentil-Bernard) and, - Les Sibarites (libretto by Marmontel), act performed in  Fontainebleau in 1753 under the name Sibaris, first replaced La Lyre enchantée, in 1757, and Anacréon in 1758. Le Procureur dupé sans le savoir, comédie mixed with vaudevilles, ca 1758. Attributed to Rameau. Les Paladins, comedy-ballet in 3 acts, libretto by M. de Monticourt, 12 February 1760. Abaris ou Les Boréades, lyric tragedy in 5 acts, the libretto is supposed to have been written by Louis de Cahusac, never performed, 1764. Io, ballet in 1 act, never performed, librettist unknown. Roland, sketch on Quinault's libretto. Pandore, in a letter from the year 1748, Voltaire tells Rameau began to set his libretto Pandore into music. The work was never performed and the music is lost . French version of Libretto. The english translation, Pandora, is available on the site blackmask.com

 

Cantatas Aquilon et Orithie, ou L'Enlèvement d'Orithie, cantate for solo voice & symphony, ca. 1715. Thétis, cantate for solo voice  & symphony, before 1720. Orphée, ca.1721. Les Amants trahis, ca. 1721. Le Berger fidèle, cantata for solo voice & Symphony, ca. 1728. Cantate pour le Jour de Saint-Louis, for dessus, violin dessus & basso continuo. Cantatille d'Hébé, Médée et L'Absence, two cantatas  composed by Rameau, according to Maret, but they are lost. La Musette et Diane et Actéon, cantatas by Pierre de la Garde & Joseph Bodin de Boismortier wrongly attributed to Rameau.

 

Chamber music  Premier livre de Pièces de Clavecin (1706) - Prélude - Allemande 1 - Allemande 2 - Courante - Gigue - Sarabande 1 & 2 - Vénitienne - Gavotte - Menuet  Pièces de Clavecin (1724) Suite en Mi - Allemande - Courante - Gigue en rondeau 1 - Gigue en rondeau 2 - Le Rappel des oiseaux - Rigaudon 1 & 2 - Musette en rondeau - Tambourin - La Villageois (rondeau) Suite en Ré - Les tendres plaintes (rondeau) - Les Niais de Sologne - Les Soupirs - La Joyeuse (rondeau) - La Follette (rondeau) - L'Entretien des Muses - Les Tourbillons (rondeau) - Les Cyclopes - Le Lardon (menuet) - La Boiteuse  Nouvelles Suites de Pièces de Clavecin (1728) Suite en La - Allemande - Courante - Sarabande - Les Trois Mains - Fanfarinette - La Triomphante - Gavotte et doubles  Suite en Sol Les Tricotets (rondeau) L'Indifférente Menuet 1 & 2 La Poule Les Triolets Les Sauvages L'Enharmonique L'Egyptienne  Pièces de Clavecin en Concert (1741) Premier Concert La Coulicam La Livri (rondeau gracieux) Le Vézinet Deuxième Concert La Laborde La Boucon L'Agaçante Premier Menuet - Deuxième Menuet Troisième Concert La Lapoplinière La Timide (Rondeau gracieux 1 & 2) Tambourin 1 & 2 Quatrième Concert La Pantomime L'Indiscrète La Rameau Cinquième Concert La Forqueray (fugue) La Cupis La Marais  Autres - Les Petits Marteaux - La Dauphine (1747)