Jean Baptiste Antoine Forqueray: Pieces de viole avec le basse continué, Suites I-V [2CD]

  • Kod: GCDC80412
  • Producent: Glossa (SP)
  • Wykonawca: Paolo Pandolfo / Guido Balestracci / Rolf Lislevand / Eduardo Egüez / Guido Morini
  • Nośnik: 2CD
  • Instrument lidera: viola da gamba
  • Kompozytor: Jean Baptiste Antoine Forqueray [1699-1782]
  • Cena: 59,99 zł
  • Poleć produkt

Muzyka Barokowa
premiera polska:
kontynent: Europa
kraj: Włochy
opakowanie: digipackowe etui

Marin Marais and Antoine Forqueray represent the two leading figures from the world of the French viola da gamba with – in the opinion of a contemporary in Hubert Le Blanc – the former playing like an angel and the latter like a devil. And fiendishly difficult to play, of course, are many of the pieces brought together in the volume prepared by Jean-Baptiste Forqueray (“le fils”) in 1747, two years after the death of his father, and drawn from sketches and memories. These Pieces de viole avec la basse continuë, dedicated to Princess Henriette of France (the younger of Louis XV’s twin daughters), serve as a final and grand homage to an instrument, which after seventy years of an absolute rule was by that time starting to cede territory to the cello...

Glossa is now bringing back into circulation – in a newly-prepared edition – the recording which introduced Paolo Pandolfo to the label, where he was joined by a starry group of fellow performers in Guido Balestracci, Rolf Lislevand, Eduardo Egüez and Guido Morini. The exemplary texts of Edmond Lemaître and Pierre Jaquier further enhance a legendary album, one which confirmed Pandolfo, now some fifteen years ago, as one of the greatest viola da gambists of our own present times.

Paolo Pandolfo: viola da gamba
Guido Balestracci
Rolf Lislevand
Eduardo Egüez
Guido Morini

ANTOINE FORQUERAY, le pere (1672-1745)
JEAN-BAPTISTE FORQUERAY, le fils (1699-1782)*

Pieces de viole avec la basse continuë
(Paris, 1747)

CD I [75:30]

Premiere Suite
1 Allemande. La La Borde
2 La Forqueray
3 La Cottin
4 La Bellemont
5 La Portugaise
6 La Couperin

Deuxieme Suite
7 La Bouron
8 La Mandoline
9 La Dubreuil
10 La Leclair
11 Chaconne. La Buisson

Quatrieme Suite
12 La Marella
13 La Clement
14 Sarabande. La D’aubonne
15 La Bournonville
16 La Sainscy
17 Le Carillon de Passy
18 La Latour
19 Le Carillon de Passy

CD II [71:06]

Troisieme Suite
1 La Ferrand
2 La Regente
3 La Tronchin
4 La Angrave*
5 La Du Vaucel*
6 La Eynaud
7 Chaconne. La Morangis ou La Plissay*

Cinquieme Suite
8 La Rameau
9 La Guignon
10 La Léon. Sarabande
11 La Boisson
12 La Montigni
13 La Silva
14 Jupiter

Norweska wytwórnia KKV, słynąca z, audiofilskiej jakości nagrań i kunsztownej stronie edytorskiej swoich wydawnictw wydaje się być idealnym partnerem dla perskich śpiewaczek.

Songlines, ocena: Top of the World
I first heard Iranian sisters Mahsa & Marjan Vahdat in Istanbul in 2006. The power in their voices, so perfectly matched and intertwining around each other was a revelation. We were all there for a Freemuse meeting about music censorship. Sadly, solo (or duo) women singers are not permitted to perform in Iran except for all-female audiences.

The Vahdat sisters have released several albums on the Norwegian KKV label, most of them fusion projects, and have contributed a track to KKV’s Lullabies from the Axis of Evil album in 2004. But this is the first recording where the power and beauty of their voices really comes across. It was recorded with three instrumentalists on ney flute (Pasha Hanjani), plucked setar (Atabak Elyasi) and percussion (Ali Rahimi) in an Qajar period Persian mansion in Tehran belonging to the Italian embassy. It’s a beautiful location for a traditional ensemble.

Some of the words are by the great Persian poets Hafez and Rumi, others are contemporary, but the music is timeless. The breathiness of the ney, the tingling delicacy of the setar, the punctuation of drums and the overlapping voices in ‘Garden of Visions’ are magical. A soft ney introduction leads to the drama of ‘Crane’, a powerful song yearning for freedom. The words are intensely poetic and often hard to interpret (despite translations), but the effect of the songs is transformative.
by Simon Broughton

wydano: 2016
more info: www.glossamusic.com
more info2: www.paolopandolfo.com

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