庫普蘭:室內樂(神化) (SACD) / 沙瓦爾 低音維奧爾琴 霍普金斯．史密斯 低音大魯特琴 Jordi Savall/Couperin:Les Apotheoses
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| 庫普蘭: 室內樂(神化)
約第．沙瓦爾 指揮/低音維奧爾提琴 莫妮卡．哈格特, 查拉．班契尼 小提琴 唐．庫普曼 大鍵琴 霍普金森．史密斯 低音大魯特琴 Couperin is too easily seen as the tender, graceful and somewhat melancholy composer, whose soft-toned palette was the same as that which served the brush of Watteau. There was another Couperin who was a master of humour and whose claws were sharp. And yet another who was a musician involved in the aesthetic battles of this time and in the avant-garde. There were great battles, like the one to which the lovers of Italy rallied, and which led him to write, at the age of twenty-two or twenty-four, the first sonatas to appear in France. There were skirmishes, like that in which the sworn masters of the guild of minstrels opposed the royal musicians. In each case we find him participating zealously and actively – but also translating his own positions into music with his characteristic skill and lighthearted humour. LE PARNASSE OU L'APOTHEOSE DE CORELLI Grande Sonade, en Trio 1.Corelli au pied du Parnasse 2.Corelli, charme de la bonne reception 3.Corelli buvant a la Source D'Hypocrene 4.Enthouziasme de Corelli 5.Corelli, apres son Enthouziasme 5.Les Muses reveillent Corelli 6.Remerciment de Corelli (gayement) CONCERT INSTRUMENTAL SOUS LE TITRE D'APOTHEOSE Compose a la memoire immortelle de l'incomparable Monsieur de Lully 7.Lully aux Champs Elyses 8.Air pour les memes (gracieusement) 9.Vol de Mercure aux Champs Elyses 10.Descente d'Apollon 11.Rumeur souteraine 12.Plaintes des memes 13.Enlevement de Lulli au Parnasse 14.Acueil entre doux et agard 15.Remerciment de Lulli a Apollon 16.Apollon persuade Lulli et Corelli 17.Air leger pour deux violons 18.Corelli, apres son Enthouziasme 19.Second air. Corelli 20.La Paix du Parnasse (gayement) Monica Huggett, Chiara Banchini violons Ton Koopman clavecin Hopkinson Smith theorbe · Bernard Herve recitant Jordi Savall basse de viole et direction |
