During his semiretirement (1740 to 1744) he wrote the Pièces de clavecin en concerts (1741), which some musicologists consider the pinnacle of French Baroque chamber music. Adopting a formula successfully employed by Mondonville a few years earlier, Rameau fashioned these pieces differently from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany melody instruments (violin, flute, viol) but as equal partner in "concert" with them. Rameau claimed that this music would be equally satisfying played on the harpsichord alone, but the claim is not wholly convincing because he took the trouble to transcribe five of them himself, those the lack of other instruments would show the least.
during his semiretirement (1740 to 1744) he wrote the pièces de clavecin en concerts (1741) which some musicologists consider the pinnacle of french baroque chamber music adopting a formula successfully employed by mondonville a few years earlier rameau fashioned these pieces differently from trio sonatas in that the harpsichord is not simply there as basso continuo to accompany melody instruments (violin flute viol) but as equal partner in "concert" with them rameau claimed that this music would be equally satisfying played on the harpsichord alone but the claim is not wholly convincing because he took the trouble to transcribe five of them himself those the lack of other instruments would show the least