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NetLab -> Forums -> Music -> Super Sound -> Topic: d'Anglebert, Marais, Dolle & Forqueray - Hommages d'Anglebert, Marais, Dolle & Forqueray - Hommages, Mieneke van der Velden, Glen Wilson; Ramee, Studio Masters 24 Bit 88,2 kHz |
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Posted: 09-02-2014, 11:20
(post 1, #1087341)
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Pro Member Group: News makers Posts: 979 Warn:0% 
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Personnel: Mieneke van der Velden (Viola da Gamba) Antoine Despont, Paris 1617 (bow: Luis Emilio Rodríguez Carrington, The Hague 2005) Glen Wilson (harpsichord) Henk van Schevikhoven, after Ruckers/Hemsch, Helsinki 1990 Tracklist: Jean-Henri d'Anglebert (1635-1691) 01 - Prélude en do majeur (Manuscrit autographe) 1:02 Marin Marais (1656-1728) Suite en do majeur (Troisième Livre de Pièces de Viole, 1711) 02 - I. Prélude 2:05 03 - II. Allemande. Double 2:24 04 - III. Sarabande 3:24 05 - IV. Menuet I & II 2:07 06 - V. Chaconne 4:23 Charles Dollé (1710-1755) 07 - Tombeau de Marais le Père 5:18 (Pièces de Viole avec la Basse Continue, 1737) Jean-Henri d'Anglebert 08 - Prélude en sol majeur (Pièces de Clavecin, 1689) 3:00 Antoine Forqueray (1671-1745) Deuxième suite en sol majeur (Pièces de Viole avec la Basse Continue, 1747) 09 - I. La Dubreüil 4:36 10 - II. La Leclair 3:27 11 - III. La Buisson. Chaconne 5:20 Marin Marais 12 - Tombeau pour Mr. de Lully 8:58 (Second Livre de Pièces de Viole, 1701) Suite en mi majeur (Second Livre de Pièces de Viole, 1701) 13 - I. Prélude 2:31 14 - II. Chaconne 4:54 15 - III. Tombeau pour Mr. de Ste. Colombe 7:48 Anonyme 16 - Prélude en sol majeur (Ms. Parville, ?Charles Couperin) 1:58 Antoine Forqueray Cinquième suite en do mineur (Pièces de Viole avec la Basse Continue, 1747) 17 - I. La Rameau 5:45 18 - II. La Léon. Sarabande 5:04 19 - III. La Montigni 3:21 Homage in music can express different things: gratitude towards a benefactor, a more personal greeting to a friend or acquaintance, recognition of a colleague’s talent, or a testament raised in memory of a teacher or other departed dear one. Paying homage to a late musician with a Tombeau was already an ancient tradition in the time of Marin Marais. Initially, tombeaux were instrumental transcriptions of middle-age and Renaissance vocal lamentations, and were developed around the middle of the 17th-century for the lute, then for the harpsichord by Louis Couperin and Jean-Henri d’Anglebert, and finally for the viola da gamba by Sainte-Colombe. The Tombeaux of Marin Marais are amongst the most original and expressive of those written for the viol, while the last examples of this tradition are the Tombeau pour Marais le Cadet, by Marin Marais (1725) and the Tombeau de Marais le Père, by Charles Dollé (1737). A programme full of worship, grandeur and sadness. |
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