Context_1 : Lisis et Délie (or Lysis et Délie) was a one-act pastoral opera with music by Jean-Philippe Rameau and a libretto by Jean-François Marmontel. The musical score is now lost. It was scheduled to appear at Fontainebleau on 6 November 1753 as part of the celebrations for the birth of the royal prince Xavier, Duke of Aquitaine. It was due to form a double bill with the "comédie-ballet" "Les hommes" (words by Germain-François Poullain de Saint-Foix, music by François-Joseph Giraud). However, it was withdrawn from performance and "La danse", the third "entrée" of Rameau's "Les fêtes d'Hébé", was performed in its place. The reason given for the work's cancellation was that it was too similar to Rameau's "Daphnis et Eglé", premiered at Fontainebleau on 30 October. The libretto was published but the music does not survive. Rameau may have reused some of it in his later operas. Context_2 : Jean-Philippe Rameau (] ; (1683--)25 1683 – (1764--)12 1764 ) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin. Context_3 : Pyotr Ilyich Tchaikovsky's relations with the group of composers known as the Belyayev circle, which lasted from 1887 until Tchaikovsky's death in 1893, influenced all of their music and briefly helped shape the next generation of Russian composers. This group was named after timber merchant Mitrofan Belyayev, an amateur musician who became an influential music patron and publisher after he had taken an interest in Alexander Glazunov's work. By 1887, Tchaikovsky was firmly established as one of the leading composers in Russia. A favorite of Tsar Alexander III, he was widely regarded as a national treasure. He was in demand as a guest conductor in Russia and Western Europe, and in 1890 visited the United States in the same capacity. By contrast, the fortunes of the nationalistic group of composers known as The Five, which preceded the Belyayev circle, had waned, and the group had long since dispersed; of its members, only Nikolai Rimsky-Korsakov remained fully active as a composer. Now a professor of musical composition and orchestration at the Saint Petersburg Conservatory, Rimsky-Korsakov had become a firm believer in the Western-based compositional training that had been once frowned upon by the group. Context_4 : Samson was an opera by the French composer Jean-Philippe Rameau with a libretto by Voltaire. The work was never staged due to censorship, although Voltaire later printed his text. Rameau intended the opera on the theme of Samson and Delilah as the successor to his debut "Hippolyte et Aricie", which premiered in October 1733. Like "Hippolyte", "Samson" was a "tragédie en musique" in five acts and a prologue. Voltaire had become a great admirer of Rameau's music after seeing "Hippolyte" and suggested a collaboration with the composer in November 1733. The opera was complete by late summer 1734 and went into rehearsal. However, a work on a religious subject with a libretto by such a notorious critic of the Church was bound to run into controversy and "Samson" was banned. An attempt to revive the project in a new version in 1736 also failed. The score is lost, although Rameau recycled some of the music from "Samson" in his later operas. Context_5 : Nélée et Myrthis (or Mirthis) is a one-act opera by Jean-Philippe Rameau in the form of an "acte de ballet". Little is known about its background: the score may be incomplete and it was never staged in Rameau's lifetime. The first known performance took place at the Victoria State Opera, Melbourne, Australia on 22 November 1974. "Nélée et Myrthis" may have been intended to form part of a larger "opéra-ballet" to be called "Les beaux jours de l'Amour". The name of the librettist is unknown but it was probably Rameau's frequent collaborator Louis de Cahusac. Context_6 : La naissance d'Osiris, ou La fête Pamilie ("The Birth of Osiris, or The Festival of Pamylia") is a one-act opera by Jean-Philippe Rameau, first performed on 12 October 1754 at Fontainebleau to celebrate the birth of the future King Louis XVI. The libretto is by Rameau's frequent collaborator Louis de Cahusac. Cahusac styled the work a "ballet allégorique" ("allegorical ballet"), but it is usually categorised as an "acte de ballet". Its slender plot tells of Jupiter's announcement to a group of Egyptian shepherds of the birth of the god Osiris, who symbolises the baby prince. The piece may have started life as part of a larger work, "Les beaux jours de l'Amour", an "opéra-ballet" Rameau and Cahusac planned but never completed for reasons which are still uncertain. Context_7 : Naïs is an opera by Jean-Philippe Rameau first performed on 22 April 1749 at the Opéra in Paris. It takes the form of a "pastorale héroïque" in three acts and a prologue. The librettist was Louis de Cahusac, in the fourth collaboration between him and Rameau. The work bears the subtitle "Opéra pour La Paix", which refers to the fact that Rameau composed the opera on the occasion of the Treaty of Aix-la-Chapelle, at the conclusion of the War of the Austrian Succession. Its original title was "Le triomphe de la paix", but criticism of the terms of the treaty led to a change in the title. Context_8 : Louis de Cahusac (6 April 1706 – 22 June 1759) was an 18th-century French playwright and librettist, and Freemason, most famous for his work with the composer Jean-Philippe Rameau. He provided the libretti for several of Rameau's operas, namely "Les fêtes de l'Hymen et de l'Amour" (1747), "Zaïs" (1748), "Naïs" (1749), "Zoroastre" (1749; revised 1756), "La naissance d'Osiris" (1754), and "Anacréon" (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, "Les Boréades" (c. 1763). Cahusac contributed to the Encyclopédie and was the lover of Marie Fel. Context_9 : Nikolai Andreyevich Rimsky-Korsakov (18 March [O.S. 6 March] 1844 21 June [O.S. 8 June] 1908 ) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions—"Capriccio Espagnol", the "Russian Easter Festival Overture", and the symphonic suite "Scheherazade"—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. "Scheherazade" is an example of his frequent use of fairy tale and folk subjects. Context_10 : The musical scores to several operas by the French composer Jean-Philippe Rameau have been lost. They include two major "tragédies en musique", "Samson" and "Linus", and a one-act pastoral opera "Lisis et Délie". The music to these pieces was substantially complete and was performed in rehearsal but for various reasons - including censorship in the case of "Samson" - they were never publicly staged. Rameau also wrote a "divertissement" for Alexis Piron's play "Les courses de Tempé", which did appear at the theatre in 1734. The music to all these works has been almost completely lost, although there is evidence Rameau reused some of it in his later operas. Rameau also began other operatic projects, which were either abandoned at an early stage ("Pandore") or broken up to form shorter works ("Les beaux jours de l'Amour"). fact_1 : Jean-Philippe Rameau (] ; (1683--)25 1683 – (1764--)12 1764 ) was one of the most important French composers and music theorists of the Baroque era. fact_2 : Nikolai Andreyevich Rimsky-Korsakov (18 March [O.S. 6 March] 1844 21 June [O.S. 8 June] 1908 ) was a Russian composer, and a member of the group of composers known as The Five. Answer: yes
Output: Are JeanPhilippe Rameau and Nikolai RimskyKorsakov both composers?