Luca Quintavalle - Barrière, De Bury: Sonates et suites pour le clavecin (2017) [Hi-Res]
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BAND/ARTIST: Luca Quintavalle
- Title: Barrière, De Bury: Sonates et suites pour le clavecin
- Year Of Release: 2017
- Label: Brilliant Classics
- Genre: Classical Harpsichord
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 02:40:01
- Total Size: 1.1 / 3.6 gb
- WebSite: Album Preview
Tracklist
01. Sonata No. 1 in B Minor: I. Adagio
02. Sonata No. 1 in B Minor: II. Allegro
03. Sonata No. 1 in B Minor: III. Largo
04. Sonata No. 1 in B Minor: IV. Allegro
05. Sonata No. 2 in D Major: I. Grave. Prestissimo. Adagio. Prestissimo. Adagio. Prestissimo
06. Sonata No. 2 in D Major: II. Allegro
07. Sonata No. 2 in D Major: III. Sarabanda
08. Sonata No. 2 in D Major: IV. Aria
09. Sonata No. 3 in E Minor: I. Adagio
10. Sonata No. 3 in E Minor: II. Allegro
11. Sonata No. 3 in E Minor: III. Adagio
12. Sonata No. 3 in E Minor: IV. Aria
13. Sonata No. 4 in G Major: I. Adagio
14. Sonata No. 4 in G Major: II. Allegro
15. Sonata No. 4 in G Major: III. Adagio
16. Sonata No. 4 in G Major: IV. Aria
17. Sonata No. 5 in B-Flat Major: I. Adagio
18. Sonata No. 5 in B-Flat Major: II. Allegro
19. Sonata No. 5 in B-Flat Major: III. Largo
20. Sonata No. 5 in B-Flat Major: IV. Allegro
21. Sonata No. 6 in A Minor: I. Andante
22. Sonata No. 6 in A Minor: II. Larghetto
23. Sonata No. 6 in A Minor: III. Aria amoroso
24. La casamajor
25. La duchesne
26. La tribolet
27. La boucon
28. La plancy
29. La dupont
30. Premiere suite in A Major: I. La minerve. Sans lenteur
31. Premiere suite in A Major: II. Sarabande, les regrets
32. Premiere suite in A Major: III. Les graces badine.: 1Er partie. Legerement. 2E partie
33. Premiere suite in A Major: IV. La tendre agitation. Modérément
34. Premiere suite in A Major: V. Le plaidoyer de Cithère. Gracieusement sans lenteur. 1Er rondeau. 2E rondeau
35. Seconde suite in C Major: I. La belle brune. Moderement
36. Seconde suite in C Major: II. Sarabande, la prude. Doucement
37. Seconde suite in C Major: III. L'enfantine. Gratieusement
38. Seconde suite in C Major: IV. La cithérée. Gracieusement sans lenteur. 1Er Rondeau. 2E rondeau
39. Troisième suite in G Major: I. Les Amusemens. 1Er Rondeau. 2E Rondeau
40. Troisième suite in G Major: II. Sarabande, la ou les sentimens. Gracieusement
41. Troisième suite in G Major: III. Z-Ephir - 1Er Menuet
42. Troisième suite in G Major: IV. Flore - 2E Menuet
43. Troisième suite in G Major: V. La pithonisse
44. Troisième suite in G Major: VI. Loure
45. Troisième suite in G Major: VII. La séduisante. Gracieusement. 1Er Rondeau. 2E Rondeau. Double du 1er Rondeau-Double du 2e Rondeau
46. Quatrième suite in E Major: I. La brillante
47. Quatrième suite in E Major: II. La dampiere
48. Quatrième suite in E Major: III. La michelon. Vivement
49. Quatrième suite in E Major: IV. La jeunesse, menuet
50. Quatrième suite in E Major: V. Chaconne
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The output of Jean Barriere (1707-1747) largely focuses around his own instrument, the cello, for which he wrote several books of suites and sonatas that have received sporadic attention on record. His work for harpsichord alone is much less well-known, though hardly less stylish. Like his contemporaries Jacques Duphly and Jean-Phillippe Rameau, Barriere entitled one of his pieces La Boucon for Anne-Jeanne Boucon, who later married Jean-Joseph de Mondonville: she must have been a woman of enviable poise and dignified beauty to judge from the music written in her honor. the first five of his six sonatas on this album are not French dance suites but transcriptions of Italian-inspired sonatas which he had originally composed for the smallest and highest instrument of the old family of viols, the pardessus de viole. The Italian influence can be traced in the bold and often unprepared dissonances which lend the sonatas both charm and unpredictable drama; the elaborate ornamentation, too, derives at least as much from the florid violin writing of Corelli and Geminiani as from the French harpsichord tradition. Bernard de Bury is a figure whose music was lost to history until very recently, when in 2009 the scholar-musician Ruta Bloomfield transcribed these pieces from obscure manuscripts and gave them their first performances in modern times. De Bury (1720-1785) was born into a musical family in Versailles, and there he stayed to serve the court. There are four suites, which in the style of Rameau and Couperin describe with wit and tender affection characters from ancient mythology and the composer's own time, with melodies almost buried beneath cascades of exquisite decoration. In his dedication, de Bury states that he was fifteen years old when he wrote the suties, though such precocious youth could not be guessed from th emusic itself, which is far from immature. This coupling is unique on record; only one previous recording of de Bury's work is presently available.
01. Sonata No. 1 in B Minor: I. Adagio
02. Sonata No. 1 in B Minor: II. Allegro
03. Sonata No. 1 in B Minor: III. Largo
04. Sonata No. 1 in B Minor: IV. Allegro
05. Sonata No. 2 in D Major: I. Grave. Prestissimo. Adagio. Prestissimo. Adagio. Prestissimo
06. Sonata No. 2 in D Major: II. Allegro
07. Sonata No. 2 in D Major: III. Sarabanda
08. Sonata No. 2 in D Major: IV. Aria
09. Sonata No. 3 in E Minor: I. Adagio
10. Sonata No. 3 in E Minor: II. Allegro
11. Sonata No. 3 in E Minor: III. Adagio
12. Sonata No. 3 in E Minor: IV. Aria
13. Sonata No. 4 in G Major: I. Adagio
14. Sonata No. 4 in G Major: II. Allegro
15. Sonata No. 4 in G Major: III. Adagio
16. Sonata No. 4 in G Major: IV. Aria
17. Sonata No. 5 in B-Flat Major: I. Adagio
18. Sonata No. 5 in B-Flat Major: II. Allegro
19. Sonata No. 5 in B-Flat Major: III. Largo
20. Sonata No. 5 in B-Flat Major: IV. Allegro
21. Sonata No. 6 in A Minor: I. Andante
22. Sonata No. 6 in A Minor: II. Larghetto
23. Sonata No. 6 in A Minor: III. Aria amoroso
24. La casamajor
25. La duchesne
26. La tribolet
27. La boucon
28. La plancy
29. La dupont
30. Premiere suite in A Major: I. La minerve. Sans lenteur
31. Premiere suite in A Major: II. Sarabande, les regrets
32. Premiere suite in A Major: III. Les graces badine.: 1Er partie. Legerement. 2E partie
33. Premiere suite in A Major: IV. La tendre agitation. Modérément
34. Premiere suite in A Major: V. Le plaidoyer de Cithère. Gracieusement sans lenteur. 1Er rondeau. 2E rondeau
35. Seconde suite in C Major: I. La belle brune. Moderement
36. Seconde suite in C Major: II. Sarabande, la prude. Doucement
37. Seconde suite in C Major: III. L'enfantine. Gratieusement
38. Seconde suite in C Major: IV. La cithérée. Gracieusement sans lenteur. 1Er Rondeau. 2E rondeau
39. Troisième suite in G Major: I. Les Amusemens. 1Er Rondeau. 2E Rondeau
40. Troisième suite in G Major: II. Sarabande, la ou les sentimens. Gracieusement
41. Troisième suite in G Major: III. Z-Ephir - 1Er Menuet
42. Troisième suite in G Major: IV. Flore - 2E Menuet
43. Troisième suite in G Major: V. La pithonisse
44. Troisième suite in G Major: VI. Loure
45. Troisième suite in G Major: VII. La séduisante. Gracieusement. 1Er Rondeau. 2E Rondeau. Double du 1er Rondeau-Double du 2e Rondeau
46. Quatrième suite in E Major: I. La brillante
47. Quatrième suite in E Major: II. La dampiere
48. Quatrième suite in E Major: III. La michelon. Vivement
49. Quatrième suite in E Major: IV. La jeunesse, menuet
50. Quatrième suite in E Major: V. Chaconne
The output of Jean Barriere (1707-1747) largely focuses around his own instrument, the cello, for which he wrote several books of suites and sonatas that have received sporadic attention on record. His work for harpsichord alone is much less well-known, though hardly less stylish. Like his contemporaries Jacques Duphly and Jean-Phillippe Rameau, Barriere entitled one of his pieces La Boucon for Anne-Jeanne Boucon, who later married Jean-Joseph de Mondonville: she must have been a woman of enviable poise and dignified beauty to judge from the music written in her honor. the first five of his six sonatas on this album are not French dance suites but transcriptions of Italian-inspired sonatas which he had originally composed for the smallest and highest instrument of the old family of viols, the pardessus de viole. The Italian influence can be traced in the bold and often unprepared dissonances which lend the sonatas both charm and unpredictable drama; the elaborate ornamentation, too, derives at least as much from the florid violin writing of Corelli and Geminiani as from the French harpsichord tradition. Bernard de Bury is a figure whose music was lost to history until very recently, when in 2009 the scholar-musician Ruta Bloomfield transcribed these pieces from obscure manuscripts and gave them their first performances in modern times. De Bury (1720-1785) was born into a musical family in Versailles, and there he stayed to serve the court. There are four suites, which in the style of Rameau and Couperin describe with wit and tender affection characters from ancient mythology and the composer's own time, with melodies almost buried beneath cascades of exquisite decoration. In his dedication, de Bury states that he was fifteen years old when he wrote the suties, though such precocious youth could not be guessed from th emusic itself, which is far from immature. This coupling is unique on record; only one previous recording of de Bury's work is presently available.
Year 2017 | Classical | FLAC / APE | HD & Vinyl
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