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Dandrieu: Trois Livres de Pièces de Clavecin (4CD)
20,00 €
Formát:
CD BOX
Dostupnosť:
7-14 dní
Katalógové číslo:
96125
EAN kód:
5028421961255
Autori:
Jean-François Dandrieu
Interpreti:
Pieter-Jan Belder
Vydavateľ:
BRILLIANT CLASSICS
Zoznam skladieb
CD 1Pièces de clavecin, livre 1, IJD 8, première suite
1 I. La plaintive
2 II. L’ harmonieuse
3 III. La languissante
4 IV. La coquète
5 V. La musète
6 VI. La mélodieuse
7 VII. Les folies amusantes
Les caractères de la guerre in D Major, IJD 1
8 I. Le bouteselle
9 II. La marche
10 III. Première fanfare
11 IV. Seconde fanfare
12 V. La charge
13 VI. La mêlée
14 VII. Les cris
15 VIII. Les plaintes
16 IX. La victoire
17 X. Le triomphe
Pièces de clavecin, livre 1, IJD 8, deuxième suite
18 I. La contrariante
19 II. L’afligée
20 III. La prévenante
21 IV. L’enjouée
22 V. La gémissante
23 VI. Les tourbillons
Le concert des oiseaux
24 I. Le ramage
25 II. Les amours
26 III.L’hymen
CD 2
Pièces de clavecin, livre 1, IJD 8, troisième suite
1 I. Les cascades
2 II. La tranquille
3 III. La fugitive
4 IV. La bouillonante
5 V. L’agitée
6 VI. Les zéphirs
7 VII. Le timpanon
Pièces de clavecin, livre 1, IJD 8, quatrième suite
8 I. Les tendres accens
9 II. L’empressée
10 III. L’afectueuse
11 IV. L’agréable
12 V. La sensible
13 VI. Les papillons
14 VII. Les fifres
15 VIII. Les chalumeaux
16 IX. La favorite
Pièces de clavecin, livre 1, IJD 8, cinquième suite
17 I. Le carillon
18 II. La fastueuse
19 III. L’heroïque
La fête de vilage
20 I. Gavote
21 II. Gigue
22 III. Menuet en rondeau
23 IV. Menuet
24 V. La cavalcade
25 VI. La chasse
26 VII. Fanfare
27 VIII. Second bruit de chasse
28 IX. Fanfare
29 X. 3me Bruit de chasse
30 XI. Fanfare
CD 3
Pièces de clavecin, livre 2, IJD 10, première suite
1 I. La lully
2 II. La corelli
3 III. La lyre d’orphée
4 IV. La figurée
5 V. Le turbulent
Pièces de clavecin, livre 2, IJD 10, deuxième suite, le concert des muses
6 I. Air grave
7 II. Passacaille
Pièces de clavecin, livre 2, IJD 10, deuxième suite, la mascarade
8 I. Entrée des masques
9 II. Le polichinel
10 III. Les dominos
Pièces de clavecin, livre 2, IJD 10, troisième suite
11 I. La magiciène
12 II. L’amant plaintif
13 III. L’indifférente
14 IV. Le galant
15 V. Les tendres reproches
16 VI. Les sermens amoureux
Pièces de clavecin, livre 2, IJD 10, troisième suite, la pastorale
17 I. Marche
18 II. Les bergers rustiques
19 III. Les bergers heroïques
20 IV. Le bal champêtre
Pièces de clavecin, livre 2, IJD 10, quatrième suite
21 I. Les doux propos
22 II. La pathétique
23 III. La fidèle
24 IV. La capricieuse
25 V. La sincère
26 VI. L’etourdie
27 VII. Le petit maître
Pièces de clavecin, livre 2, IJD 10, cinquième suite
28 I. Le caquet
29 II. L’impérieuse
30 III. La timide
31 IV. La folâtre
32 V. Les rivales
33 VI. Le chasseur
Pièces de clavecin, livre 2, IJD 10, sixième suite
34 I. L’eclatante
35 II. La sirène
36 III. La bacante
Pièces de clavecin, livre 2, IJD 10, sixième suite, l’aubade
37 I. Le réveil
38 II. Les sentiments
39 III. La fleurète
40 IV. Les adieux
CD 4
Pièces de clavecin, livre 3, IJD 11, première suite
1 I. La majestueuse
2 II. La fière
3 III. La touchante
4 IV. La naturèle
5 V. La galante
6 VI. Le prévenant
7 VII. L’engageant
8 VIII. L’empressé
9 IX. L’arlequine
10 X. L’amazone
Pièces de clavecin, livre 3, IJD 11, deuxième suite
11 I. L’obstinée
12 II. La précieuse
13 III. La constante
14 IV. L’intéressante
15 V. La champêtre
16 VI. La gracieuse
17 VII. Le badin
18 VIII. L’enjoué
Pièces de clavecin, livre 3, IJD 11, troisième suite
19 I. La modeste
20 II. La complaisante
21 III. L’aimable
Pièces de clavecin, livre 3, IJD 11, quatrième suite
22 I. L’insinuante
23 II. La folète
24 III. La pompeuse
Pièces de clavecin, livre 3, IJD 11, cinquième suite
25 I. L’ingénue
26 II. La bondissante
27 III. La légère
Pièces de clavecin, livre 3, IJD 11, sixième suite
28 I. La brillante
29 II. La guerrière
30 III. L’amusant
Pièces de clavecin, livre 3, IJD 11, septième suite
31 I. La flateuse
32 II. La baladine
33 III. La volage
Pièces de clavecin, livre 3, IJD 11, huitième suite
34 I. L’animée
35 II. La caressante
36 III. La mignone
Popis
Jean-François Dandrieu was born in August or September 1682 on rue Saint-Louis, Île de la Cité, Paris. He was the eldest of at least four children and showed such musical precocity that it is reported he played the harpsichord for Louis XIV and his court at the age of five. It can be assumed that his reputation led to great demand for his services as a performer, since he travelled outside Paris as a musician on several occasions. He was not the first musical Dandrieu: his uncle, Pierre, trained as a priest and organist in Angers. It is possible that it was he who organised Jean-François’s studies with the harpsichordist and composer Jean-Baptiste Moreau, a fellow Angevin and near contemporary. The musical environment in which Dandrieu was raised was a period of considerable change. Paris saw the rise of a modish cultural élite with an increasing desire for new music, whether instrumental or vocal, and this was fed by several publications such as Mercure Galant (1678–1714), which reported not only on concerts and new music but also provided a modicum of artistic gossip to inform its readers which artists were currently in vogue. It has been mentioned that Dandrieu was renowned from an early age as a prodigy. While we know little else about his activities as a performer, the decision to publish his early compositions must have been based on the level of notoriety he had achieved. According to the catalogue of the Bibliothèque nationale de France, the first book of harpsichord pieces was published in 1705, but there are no records of his legally required lettres de privilège being submitted to the Paris Guild of Booksellers for that year. Indeed, though records for November 1700–January 1704 are now lost, it is assumed the books were issued at some point between these dates, which would make him the youngest-known composer to have released a book of music. While Dandrieu’s early harpsichord pieces were written in the shadow of 17th-century composers, the three books published between 1724 and 1735 demonstrate a radically new direction for the composer. Such a shift can be attributed to changing tastes: harpsichord music as early as the last decade of the previous century shows a gradual distancing from many techniques that were primarily associated with the lute. Dandrieu, like most musicians, probably spent much of his earlier life as a teacher and would have been well aware of the abilities and tastes of those for whom the suites were written. They retain a naïve simplicity that is often lacking elsewhere. Nothing is too complicated: ornamentation is straightforward, textures tend towards two-part writing, and figuration always falls comfortably under the hand. The Premier livre finishes with what Dandrieu refers to as ‘a suite in its own right’ of ten tableaux: Les Charactères de la Guerre. It demonstrates Dandrieu’s propensity to revise earlier and possibly popular works to suit new media. The tableaux follow a tradition among composers for depicting battle scenes. The tradition continued in France until late into the 18th century with Claude-Bénigne Balbastre’s 1792 appeal to the revolutionaries in Marche des Marseillois. Prihlásenie
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