François Couperin L'Astrée Vídeos
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2024-04-27
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Handel Cara Couperin Bach Johann Quantz Pier Francesco Tosi Tosi Neumann Hiller Margherita Durastante Ann Murray Nikolaus Harnoncourt René Jacobs Lorraine Hunt Nicholas McGegan Jean Claude Malgoire David Daniels Roger Norrington Otter Mark Minkowski Magdalena Kožená Andrea Marcon Mary Ellen Nesi Baráth Concentus Musicus Wien Concerto Köln Philharmonia Baroque Orchestra Orchestra Age Enlightenment Venice Baroque Orchestra 1620 1724 1985 1991 1992 1995 1998 2003 2007 2010 2012
≈ History ≈ {adapted from the Grove Dictionary} During the Baroque period reputations were made or lost on the ability of individuals to introduce decorations in their performances. One must note that markedly different idioms of decoration have developed by the 18th century in Italy, England and, most importantly, France/Germany where a select number of composers {e.g. Couperin and J.S. Bach} actually began writing their desired ornaments directly into the music. However, the prevailing fashion at the time seemed to be influenced by Italy, where it was generally felt that the music served as something of a blueprint, and could be constantly refreshed by improvised graces. Not only are ornament signs rare in Italian scores, but there is little comment on the subject in Italian treatises. Flautist Johann Quantz writes that "everything was left to the caprice of the performer", while writer Pier Francesco Tosi dismissed the tendency to indicate ornamentation as a "foreign infantile practice". "About 1620, a silence... settled on Italian ornamentation theory", - notes modern scholar Frederick Neumann. ≈ Music ≈ At this time the paragon of the noted paradigm in vocal terms - the da capo aria - gradually achieved supremacy. The basic gist of the form - a piece in ABA form to be elaborated on the repeat - seems clear, but the extent to which the ornamentation could be taken is debatable. The few rules that appear in contemporary literature are somewhat generic. "In the [repeat]... artful graces [must] be added by which the judicious may hear that the ability of the singer is greater", - notes Tosi, while also suggesting that there are possibilities for modest ornamentation in the initial statement of the A section and in the B section. German composer J.A. Hiller stresses that the same graces should not be used too close to one another or too often in succession. Quantz makes us consider each aria's character: "the plain air must be made more agreeable by... little essential graces, as the passion of the moment demands". It should be noted, however, that contemporary writers often take a wide view of ornamentation, embracing dynamic effects and types of articulation {e.g. staccato}. Some arias also provide opportunities for cadenzas just before the final cadence of the A section which could in practice be of inordinate length: "the throat is set a going, like a weather-cock in a whirlwind", - bemoans Tosi. The problem is that little practical advice as to what could be considered acceptable ornamentation is given by any other contemporary musical figure of Italianate opera, including the composer in question - Handel - who left just a few examples of decorated repeats, though Neumann concurs that "Handel in true Italian manner showed indifference to matters of detail by delegating most of the authority to the performer". It is with these basic notions that we approach Sesto's enchanting "Cara speme" from Handel's "Giulio Cesare" written for soprano Margherita Durastante, the composer's first important prima donna in Italy {title role in "Agrippina"} who followed him to London in the 1720s. Sesto's gentle hymn to hope attains perfectly understated simplicity, and its limited ornamentation is presented in three series of expressive figurations on the word "lusingar" to be sustained as unified lines. The aria is particularly difficult to ornament effectively, as the da capo demands a tender approach, and careless ornamentation could undermine its underlying sincerity. My main aim with this posting is to contrast the ornamentation used by modern performers over a period of almost 25 years to decorate this "plain air" and offer the listener an opportunity to independently consider what he or she would consider the most ideal solution. To this end I also offer my own general comments on the individual performances in the video annotations. ≈ Score ≈ The sheet music for the aria in question is readily available on IMSLP (P. 44-45): (http•••) ≈ Recordings ≈ 0:08 ~ 1985 Warner Apex, Ann Murray (mezzo-soprano) Concentus Musicus Wien/Nikolaus Harnoncourt. 2:24 ~ 1991 Harmonia Mundi, Marianne Rørholm (soprano) Concerto Köln/René Jacobs. 4:16 ~ 1992 Harmonia Mundi, Lorraine Hunt (m-s) Philharmonia Baroque Orchestra/Nicholas McGegan. 6:01 ~ 1995 Astrée, Eirian James (s) La Grande Ecurie/Jean-Claude Malgoire. 7:32 ~ 1998 Virgin, David Daniels (countertenor) Orchestra of the Age of Enlightenment/Roger Norrington. 9:14 ~ 2003 Archiv Production, Anne Sofie von Otter (m-s) Les Musiciens du Louvre/Mark Minkowski. 11:08 ~ 2007 Archiv Production, Magdalena Kožená Venice Baroque Orchestra/Andrea Marcon. 13:24 ~ 2010 MDG, Mary-Ellen Nesi (m-s) Orchestra of Patras/George Petrou. 15:59 ~ 2012 Naïve, Emöke Baráth (s) Il Complesso Barocco/Alan Curtis. Hope you'll enjoy =).
Peter Lukas Graf Antonio Vivaldi Antonio Lotti François Couperin Johann Sebastian Bach Friedrich Kuhlau Giulio Briccialdi Georg Friedrich Händel Giovanni Battista Pergolesi Niccolò Piccinni Saverio Mercadante Wolfgang Amadeus Mozart Franz Schubert 1079 1667 1668 1678 1685 1710 1728 1736 1740 1741 1750 1753 1756 1759 1786 1791 1795 1797 1800 1818 1828 1832 1840 1870 1881 1893 2006 2013 2014
More than 3 hours of Peter-Lukas Graf ! The first Volume of the Infinity Classical Claves' Collection The playlist: (http•••) In order of Appearance: CD 8807 - Musiche Veneziane 00:00 Antonio Vivaldi +••.••(...)) Concerto in D Major, Op. 10/3 "Il Gardellino" RV 428 1. Allegro / 2. Cantabile / 3. Allegro 00:00 Concerto in G Major RV 436 19. Allegro / 20. Largo / 21. Allegro 10:06 CD 0404 - Barocke Kammermusik 18:57 Antonio Lotti +••.••(...)) Triosonata in A Major for Flute, Oboe d'Amore & Continuo 1. Vivace - Largo - Allegro 18:57 François Couperin +••.••(...)) Sonata in G Minor for Flute, Oboe & Continuo, "l'Astrée" 2. Gravement - Vivement, légèrement - Gravement - Vivement et marqué, gayement - Air - Second air - Gravement et marqué - Viste, légèrement 25:58 Antonio Vivaldi +••.••(...)) Sonata VI in G Minor from Op. XIII "Il pastor fido" for Oboe & Continuo 3. Vivace - Fuga da capella - Largo - Allegro 36:25 CD 0198 - Musikalisches Opfer 44:00 Johann Sebastian Bach +••.••(...)) Musical Offering, BWV 1079 Trio (Flute, Violin, Cello, Harpsichord) 12. Largo - Allegro - Andante - Allegro 44:00 CD 2006 - Two Flutes 01:04:02 Johann Sebastian Bach +••.••(...)) Trio Sonata in G Major for Two Flutes & B.C., BWV 1039 1. Adagio 01:04:02 Friedrich Kuhlau +••.••(...)) Trio in G Major for Two Flutes & Piano, Op. 119 8. Allegro moderato Giulio Briccialdi +••.••(...)) Duo Concertant for Two Flutes in F Major, Op. 100, No. 2 13. Allegretto 01:15:43 CD 2511 - Peter-Lukas & Aglaia Graf 01:21:45 Johann Sebastian Bach +••.••(...)) Sonata in A Major, BWV 1032 1. I. Vivace 2. II. Largo e dolce 3. III. Allegro 01:21:45 Sonata in B Minor, BWV 1030 16. I. Andante 17. II. Largo e dolce 18. III. Presto CD 0401 - Bach: Sonaten für Querflöte 01:51:14 Johann Sebastian Bach +••.••(...)) Sonate h-moll BWV 1030 für Flöte & obligates Cembalo 1. Andante Sonate A-dur BWV 1032 für Flöte & obligates Cembalo (ohne 1. Satz) 8. Allegro Sonate e-moll BWV 1034 für Flöte & Continuo 13. Allegro CD 2013 - Miniatures 02:06:18 Johann Sebastian Bach +••.••(...)) Miniatures for Flute & Guitar 1. Allegro, from BWV 1033 2. Siciliano, from BWV 1031 Pjotr I. Tchaikosky +••.••(...)) 9. Valse sentimentale, Op. 51/6 CD 0238 - Händel: Sonaten für Querflöte 02:13:25 Georg Friedrich Händel +••.••(...)) Sonatas for Flute and Continuo Sonata in A Minor (Hallenser Sonata 1) 3. Adagio - Allegro - Adagio - Allegro Sonata in G Major, Op. I,5 6. Adagio - Allegro - Adagio - Bourrée - Menuett Sonata in E Minor, Op. I, 1a 7. Larghetto - Andante - Largo - Allegro - Presto CD 9103 - Italian Flute Concertos 02:46:10 Giovanni Battista Pergolesi +••.••(...)) Concerto per Flauto in Sol Maggiore 1. Spiritoso Niccolò Piccinni +••.••(...)) Concerto per Flauto in Re Maggiore 6. Allegro con brio Saverio Mercadante +••.••(...)) Concerto per Flauto in Mi Minore 10. Allegro maestoso CD 9705 - Transcriptions for Flute & Guitar 03:03:34 Johann Sebastian Bach +••.••(...)) Suite in D Minor for Flute & Basso continuo after BWV 997 1. Preludio Wolfgang Amadeus Mozart +••.••(...)) Sonata in A Major, K. 331 5. Andante grazioso Franz Schubert +••.••(...)) Sonata in A Minor, "Arpeggione", D 821 8. Allegro moderato (http•••) Peter-Lukas Graf on iTunes: (http•••) All the albums of this Peter-Lukas Graf: (http•••) / Contact us: •••@••• / +••.••(...) Press: •••@••• / EXECUTIVE PRODUCER Claves records 2014 Claves Records SA, Pully (Switzerland) / Do you want to synch that? Claves records S.A: •••@••• / (http•••) or Cézame Musique (http•••) Find a Reseller in your Country (http•••) / Website & Shop: (http•••) Find us on: Qobuz: (http•••) Presto Classical: (http•••) Twitter: (http•••) Facebook: (http•••) Spotify: (http•••) #peterlukasgraf #flute #classicalmusic #clavesrecords
Louis Couperin Couperin Francesco Corti Arezzo Morlacchi Asperen Christophe Rousset Leonhardt Meyerson Tagliavini Johann Sebastian Bach Minkowski Savall Bernardini Garrido Verlet Concert Nations Harmonie Universelle Ensemble Elyma 1984 2003 2006 2007 2010
*Based on my personal preferences & the length limits imposed by youtube, I have extracted the following movements of the C major suite written by Louis Couperin for your appreciation. Hope you will enjoy them: III. Courante; IV. Courante; V. Sarabande; VI. Sarabande; VII. Passacaille; VIII. Menuet Francesco Corti was born in Arezzo, Italy, in a musical family in 1984. As a young child, he was taught by his mother, A. Seggi, and then by G. Giustarini. He studied organ and composition for organ in the class of W. van de Pol at the "Morlacchi" Conservatoire in Perugia, then harpsichord at the Conservatoire Superieure de Musique of Geneva with A. Fedi and at the Conservatorium van Amsterdam with Bob van Asperen. He has also attended masterclasses with C. Rousset, G. Leonhardt, M. Meyerson, B. Winsemius, E. Kooiman, L. Tamminga, L.F. Tagliavini at important musical institutions such as the Zomerakademie voor Organisten of Haarlem, the Académie Musicale de Villecroze and the Accademia Chigiana di Siena (where he received a "Diploma di Merito"). He was awarded in international competitions for harpsichord, organ and chamber music and in 2006 he obtained the first prize of harpsichord at the XV International "Johann Sebastian Bach" Competition in Leipzig. In 2007 he was awarded the second prize at the Bruges Harpsichord Competition. As a soloist, he has appeared in recitals and concerts all over Europe, in the USA, Mexico, Island, Japan, Korea, Indonesia and in New Zealand. In 2007 he was called by M. Minkowski to join Les Musicien du Louvre-Grenoble, where he plays continuo and solo harpsichord and organ. With this ensemble he has taken part to tours all over the world and several recordings. He also plays with other famous early music groups such as Le Concert des Nations (J. Savall), Ensemble Zefiro (A. Bernardini), Harmonie Universelle (F. Deuter), Ensemble Elyma (G. Garrido), Les Talens Lyriques (C. Rousset), La Scintilla (A. Pesch), and Musica ad Rhenum (J. Wenz). His first solo recording (Harspichord suites by Louis Couperin, recorded on the original Ruckers Harpsichord conserved in Neuchatel, Switzerland) has been published in 2007 by the label Genuin. In 2010 Berlin Cassics published his recording of Bach's Partitas. Reference Recording: Christophe Rousset Louis Couperin (2010, Aparté) (http•••) Blandine Verlet Louis Couperin: Les piéces de clavessin (Box Set) (2003, Astrée) (http•••)
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