RAMEAU – Anacréon 1754 – SCORE, version1
RAMEAU – Anacréon 1754 – part Violino1, version 2 (Zefira, Dasa, Laszlo, Cecilia)
RAMEAU – Anacréon 1754 – part Violino2, version 1 (David, Roger, Irma, Barbara)
RAMEAU – Anacréon 1754 – part violas, version1 (Gabriel, Laurent, Dominik, Lucile)
RAMEAU – Anacréon 1754 – part Basses & Bassons (David, Krzysztof, Poppy [principal], Corentin, Louna, Vega)
RAMEAU – Anacréon 1754 – part oboes (Lidewei, Sarah)
RAMEAU – Anacréon 1754 – part flutes (Olivier, Laura)
RAMEAU – Anacréon 1757 – SCORE, version 1
RAMEAU – Anacréon 1757 – part flutes, version1 (Laura, Olivier)
RAMEAU – Anacréon 1757 – part oboes, version1 (Lidewei, Sarah)
RAMEAU – Anacréon 1757 – part violon1, version1 (Zefira, Dasa, Laszlo, Cecilia)
RAMEAU – Anacréon 1757 – part violon2, version1 (David, Roger, Irma, Barbara)
RAMEAU – Anacréon 1757 – part violas (Gabriel, Laurent, Dominik, Lucile)
RAMEAU – Anacréon 1757 – part basses & bassons (David, Krzysztof, Poppy [principal], Corentin, Louna, Vega)
A precision about this part : Rameau makes a distinction between Basse continue (harpsichord + 1 cello in our case) and Basses (all the basses from string group, excluding bassoon). And clearly calls for bassoon when needed. The meaning of “Tous” would depend of the context, depending of presence of bassoons or not in the piece. It is used in opposition of “Basse continue”.