Couperin, de Visee, Lambert, dAnglebert, Forqueray - Barricades - Thomas Dunford, Jean Rondeau - 2020

Thomas Dunford, Jean Rondeau - Barricades

Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания: 2020
Жанр: Classical
Издатель (лейбл): Warner Classics
Продолжительность: 01:09:24
: Буклет PDF
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0

Треклист:
François Couperin
01. Second Livre de pièces de clavecin, Sixième Ordre: Les baricades mïstérieuses (3:20)
Robert de ViséePièces de théorbe et de luth, Suite No. 7 en ré mineur

02. I. Allemande 'La Royale' (2:23)

03. II. Courante I (1:36)

04. III. Sarabande (2:33)

05. IV. Gavotte (0:51)

06. V. Chaconne (3:32)

07. VI. Mascarade, rondeau (1:13)
Michel Lambert
08. Mes jours s'en vont finir (3:44)
Marin Marais
09. Pièces de viole, Livre II, Suite No. 3 en ré majeur: Les voix humaines (4:05)
François Couperin
10. L'Art de toucher le clavecin: Premier Prélude (1:24)

11. Second Livre de pièces de clavecin, Septième Ordre: I. La Ménetou. Rondeau, gracieusement, sans lenteur (3:35)
Marin Marais
12. Pièces de viole, Livre IV, Suite d'un goût étranger: La Rêveuse (4:58)
François Couperin
13. Troisième Livre de pièces de clavecin, Quinzième Ordre: II. Le Dodo ou L'Amour au berceau. Rondeau, sur le mouvement des berçeuses (6:09)
Marc-Antoine Charpentier
14. Sans frayeur dans ce bois, H. 467 (2:56)
Jean-Henry d'AnglebertSuite No. 3 en ré mineur

15. I. Prélude (6:07)

16. VI. Sarabande Grave. Lentement (4:01)
Antoine ForquerayPèces de viole, Suite No. 1 en ré mineur

17. V. La Portugaise. Marqué et d'aplomb (3:46)

18. VI. La Sylva. Très tendrement (5:48)

19. VII. Jupiter. Modérément (4:40)
Jean-Philippe Rameau
20. Les Fêtes d'Hébé, Act I: 'Je vous revois' (Le Ruisseau, La Naïade) (2:51)

Исполнители:
Jean Rondeau, harpsichord
Thomas Dunford, archlute
Lea Desandre, mezzo-soprano
Marc Mauillon, baritone
Myriam Rignol, viola da gamba

Об альбоме (сборнике)
Jean Rondeau: “Both of us have grown up with this music from the cradle of our earliest infancy; […] It is music that allowed us to become what we are, while at the same time encouraging us to question things constantly. […] Now, playing the music - because, as we all know, we play rather than make music - has become a part that each of us plays, played here as a double act. Each one for himself, with his instrument as a crucible, and at the same time each of us for the other, since after all we are engaged in a performance. We don’t know how to play alone. This is the paradox of the game of music: a cross between extremely precise rules for how to play - how to read this cryptic language we spend our life deciphering, like hieroglyphs - and the magic to which it leads us - its at once organic and dreamlike dimension. This is where we find our shared expression: in a shared ordeal, we still don’t fully understand. […] Our playing goes far beyond dialogue: for us, it is not about responding to each other so much as it is about questioning and inviting our listeners to join us in this exploration with no answer or resolution. […] So we brood over this music, we play it endlessly, and we play endlessly. That is precisely what we do in this programme composed almost exclusively of rondos (refrain-verse-refrain-verse), and pieces with repeats in binary form.”