Jean-Philippe Rameau (French: [ʒɑ̃filip ʁamo]; 25 September 1683 – 12 September 1764) was a leading French composer and theorist of the 18th century, recognized for his profound influence on French music. Following in the footsteps of Jean-Baptiste Lully, he became the foremost composer of French opera and was, alongside François Couperin, one of the era’s most significant harpsichord composers.

Little is known about Rameau’s early life. It was not until the 1720s that he gained renown, first as a groundbreaking theorist with his Treatise on Harmony (1722), which reshaped contemporary music theory, and then as a composer of harpsichord works that earned admiration across Europe. Approaching 50, he embarked on an operatic career that would define his legacy. His debut opera, Hippolyte et Aricie (1733), challenged the prevailing Lullian style with daring harmonic techniques, sparking controversy among traditionalists.

Despite early resistance, Rameau soon established himself as a preeminent figure in French opera. In the 1750s, however, he faced opposition from advocates of Italian opera during the Querelle des Bouffons and was criticized as an “establishment” composer. By the late 18th century, his music had fallen out of favor, but a 20th-century revival led to a renewed appreciation of his work, which is now widely performed and recorded.

Rameau’s compositional style reflects his deep theoretical insight. Viewing harmony as the foundation of music, he approached composition with a scientific rigor, creating works marked by bold harmonic shifts and lush textures. His harmony was revolutionary, embracing dissonance and complex counterpoint, which distinguished both his operas and keyboard works. His music balances intellectual depth with expressive power, making it both challenging and moving for listeners.

Rameau’s musical journey was unconventional and marked by a slow rise to fame. Born into a musical family, he was initially destined for the clergy but chose music instead, spending years as an organist in provincial churches. During this period, he developed his own theories on harmony. His breakthrough came with his Treatise on Harmony (1722), which established him as one of France’s foremost theorists.

In his late forties, Rameau finally turned to opera, long dominated by Lully’s legacy. His first opera, Hippolyte et Aricie (1733), introduced an innovative musical language, rich in orchestration and complex harmonies, that captivated and unsettled audiences. Over the next two decades, he created some of his finest operas, including Les Indes galantes (1735) and Castor et Pollux (1737), known for their compelling blend of narrative and musical sophistication.

Rameau’s success eventually cast him as the leading “establishment” composer, which made him a target in the Querelle des Bouffons, a heated debate between supporters of the simplicity of Italian opera and defenders of the intricate French style. By the century’s end, shifting tastes rendered his music out of fashion, and it was largely forgotten until a 20th-century revival sparked a reassessment of his work.

Today, Rameau’s operas, harpsichord pieces, and chamber works are celebrated for their imaginative harmony and complexity, cementing his place as a central figure in Baroque music and a pioneering link between music theory and practice.