Jordi Savall WikiThe main object of the poets’ attention is fin’amor, but other themes, including the return of spring (Volez vous que je vous chant and En mai, quant li rossignolez), make their joyful appearance, and there is one piece in a completely different vein, a serious piece of religious polemics: Deus est ensi conme li pellicanz. Savall has been obsessed with Folia from the beginning; he made this melody popular in contemporary Early Music and published four famous discs on this theme. Sandra Bowdler was born and educated in Sydney, and has pursued a career as an archaeologist since graduating from the University of Sydney in 1970. She is now Emeritus Professor of Archaeology and a Senior Honorary Research Fellow at the University of Western Australia in the School of Social Sciences and the School of Music. Since attending a production of Handel’s opera Alcina at the Sydney Opera House in 1982, she has become a devotee of the works of GF Handel, and Baroque music generally. In 1996 she began writing opera reviews for online outlets, graduating to more professional sources by 2000. In 2007, she inaugurated Festival Baroque Australia in Perth, Western Australia, Australia’s first Baroque music festival. Under that banner, she curated two festivals and several concerts in Perth. Original asus 1000h xp support dvd download. To see more matches, use our custom search engine to. Bach’s Orchestral Suites, or Overtures, are among the only true orchestral works he wrote for a chamber ensemble. With the exception of the Brandenburg Concertos, all his other orchestral works are for solo instruments, such as harpsichord or violin, and orchestra. The four overtures are tutti works, like the Brandenburgs, where the entire ensemble is the soloist. These works are also some of the most French of all of Bach¹s music - not only is the sound distinctly French, but the movements bear French names as well. Ton Koopman is one of the most interesting Bach performers in recent years. The performances are very good - they are lively, moving, full of vigour and they get the feet tapping, something that too many performers of these works cannot achieve. All too often these suites end up sounding staid and rigid, as conductors try and fit them into a mould that is more appropriate for Mozart or Haydn symphonies. This recording is full of fine contrasts as well - the spirited bouree of the second suite is followed by a stately, rhythmic reading of the polonaise, a sensitive minuet, and an almost bouncy badinerie. (This suite is especially intimate, featuring only 7 musicians, compared with about 20 for the third and fourth suites, and a dozen for the first.). The (in)famous parody of Vivaldi's four seasons. 'Nicolas Chedeville was high priest of an improbable bagpipe and hurdy-gurdy cult to which much of French high society surrendered in the early 18th century. The aristocrats wandered through their country parks dressed in `peasant' clothes, picnicked on country fare.and rural music was a favourite accompaniment, played on instruments with an appropriately rustic pedigree but exquisitely craftsman-made, much `improved', sounding as civilised as they possibly could in court-professional hands.' Chedeville himself was a master of the musette, a small, refined version of the bagpipe. The repertoire of trouvere songs is one “we are only now beginning to explore” writes Margaret Switten. I’m not sure that John Stevens or Hendrik van der Werf would agree with this, but it is certainly a claim that whets the appetite. Cool Blogspot ThemesAnd here we have an enlightened and well-chosen selection, sensitively presented and delightfully sung by Paul Hillier with insight and feeling. The main object of the poets’ attention is fin’amor, but other themes, including the return of spring (Volez vous que je vous chant and En mai, quant li rossignolez), make their joyful appearance, and there is one piece in a completely different vein, a serious piece of religious polemics: Deus est ensi conme li pellicanz. The melodies, simple and stanzaic, are of great beauty. Outstanding in this respect is Gace Brule’s A la doucor de la bele seson. Many are modal (Dorian) and a few share a well-known opening phrase with a Gregorian melodie-type that Andrew Lawrence-King has made much use of in his accompaniments.
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