Mr. Haas says that these instruments changed the way he plays and teaches Rameau.
Homage was paid to Rameau's brilliant music in this special concert at the 2007 Boston Early Music Festival.
And for his spectacle-loving audiences, Rameau created charming symphonies, tambourins, menuets, and other dances to punctuate the vocal pyrotechnics on stage.
Lully's enormously successful operas and ballets set the stage for the operas that followed, some four decades later, by Jean-Philippe Rameau.
Composers like d'Indy and Hahn took part in the editing of Rameau's works in the late 19th century, but this too is an area of confusion.
The Festival Orchestra, led by festival directors Stephen Stubbs and Paul O'Dette in Jordan Hall, strung together some of Rameau's finest orchestral moments from the operas Nais and Dardanus.
At their concerts on Sunday, the students showed what Mr. Haas and the instruments had taught them about Rameau, playing more slowly, using smaller hand movements, listening to themselves.
Rameau's obsession with music apparently began early in life.
On a recent Saturday morning in Karen and Peter Flint's spacious barn in the Brandywine Valley, nine harpsichord students and assorted auditors were listening intently as harpsichord virtuoso Arthur Haas, a professor at SUNY Stony Brook, explained the subtleties inherent in performing the music of Jean-Philippe Rameau (1683-1764).
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