A Dictionary of Music and Musicians/Rebel, Jean
REBEL, Jean Ferry, born in Paris, 1669. After a precocious childhood entered the Opera as a violinist, speedily became accompanyist, and then leader. In 1703 he produced 'Ulysse,' opera in 5 acts with prologue, containing a pas seul for Françoise Prévôt, to an air called 'Le Caprice,' for violin solo. The opera failed, but the Caprice remained for years the test-piece of the ballerine at the Opéra. After this success, Rebel composed violin solos for various other ballets, such as 'La Boutade,' 'Les Caracteres de la Danse,' 'Terpsichore,' 'La Fantaisie,' 'Les Plaisirs Champêtres,' and 'Les Eléments.' Several of these were engraved, as were his sonatas for the violin. Rebel was one of the '24 violons,' and 'compositeur de la chambre' to the King. He died in Paris, 1747. His son,
François, born in Paris, June 19, 1701, at 13 played the violin in the Opéra orchestra. He thus became intimate with François Francœur, and the two composed conjointly, and produced at the Académie, the following operas: 'Pyrame et Thisbé' (1726); 'Tarsis et Zélie' (1728); 'Scanderbeg' (1735); 'Ballet de la Paix' (1738); 'Les Augustales' and 'Le Retour du Roi' (1744); 'Zelindor,' 'Le Trophée' (in honour of Fontenoy, 1745); 'Ismène' (1750); 'Les Génies tutélaires' (1751); and 'Le Prince de Noisy' (1760); most of which were composed for court fêtes or public rejoicings.
From 1733 to 44 Rebel and Francœur were joint leaders of the Académie orchestra, and in 1753 were appointed managers. They soon however retired in disgust at the petty vexations they were called upon to endure. Louis XV. made them surintendants of his music, with the order of St. Michel. In March 1757 these inseparable friends obtained the privilege of the Opéra, and directed it for ten years on their own account, with great administrative ability.
Rebel died in Paris Nov. 7, 1775. He composed some cantatas, a Te Deum, and a De Profundis, performed at the Concerts spirituels, but all his music is now forgotten, excepting a lively air in the first finale of 'Pyrame et Thisbé' which was adapted to a much-admired pas seul of Mlle. de Camargo, thence became a popular contredanse—the first instance of such adaptation—and in this form is preserved in the 'Clef du Caveau' under the title of 'La Camargo.'