Emma Kirkby, London Baroque - Michel Pignolet de Montéclair: Cantates à voix seule (2011) [Hi-Res]
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BAND/ARTIST: Emma Kirkby, London Baroque
- Title: Michel Pignolet de Montéclair: Cantates à voix seule
- Year Of Release: 2011
- Label: BIS
- Genre: Classical
- Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
- Total Time: 01:10:11
- Total Size: 363 mb / 1.18 gb
- WebSite: Album Preview
Tracklist
01. Cantates a voix seule, Book 1: Le retour de la paix: Vivement
02. Cantates a voix seule, Book 1: Le retour de la paix: Air: Tendrement
03. Cantates a voix seule, Book 1: Le retour de la paix: Legerement
04. Cantates a voix seule, Book 1: Le retour de la paix: Lent et detache
05. Cantates a voix seule, Book 1: Le retour de la paix: Leger et doux
06. Cantates a voix seule, Book 1: Le retour de la paix: Recitatif: Discorde, tes efforts vont etre superflus
07. Cantates a voix seule, Book 1: Le retour de la paix: Air des Trompettes
08. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
09. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air
10. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
11. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air: lent et mesure
12. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Symphonie: Modere
13. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
14. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air gai
15. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
16. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air, lentement et tendrement
17. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air gai
18. Cantates a voix seule, Book 1: Le triomphe de la constance: Recitatif
19. Cantates a voix seule, Book 1: Le triomphe de la constance: Tendrement et un peu de mouvement
20. Cantates a voix seule, Book 1: Le triomphe de la constance: Recitatif
21. Cantates a voix seule, Book 1: Le triomphe de la constance: Tendrement
22. Cantates a voix seule, Book 1: Le triomphe de la constance: Recitatif
23. Cantates a voix seule, Book 1: Le triomphe de la constance: Air
24. Cantates a voix seule, Book 1: La mort de Didon: Lent, marque et detache
25. Cantates a voix seule, Book 1: La mort de Didon: Air: Lent
26. Cantates a voix seule, Book 1: La mort de Didon: Recitatif
27. Cantates a voix seule, Book 1: La mort de Didon: Vivement
28. Cantates a voix seule, Book 1: La mort de Didon: Recitatif
29. Cantates a voix seule, Book 1: La mort de Didon: Air
30. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Presto
31. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo
32. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Aria: Largo et affettuoso
33. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo
34. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Aria: Vivace - Adagio
35. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo: Adagio
36. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo
An almost exact contemporary of François Couperin and only some 15 years older than Rameau, Michel Pignolet de Montéclair taught the children of the first-named and debated music theory with the latter. He is credited with introducing the new contrabass to the Paris opera orchestra of which he was a member, wrote a treatise on teaching, Petite méthode pour apprendre la musique, and in 1721 opened a music shop. But he was also a composer working in all the genres current at the time, including that of the chamber cantata for one or two voices and strings. During his lifetime 24 such works were published in three different collections, dealing mainly with subjects from classical history or mythology. The texts are anonymous, the large majority being in French with four Italian ones, including La Morte di Lucretia, recorded here. One of the challenges for the composer in these mini-operas with their restricted instrumentation is to provide an effective backcloth for the action with the limited means at his disposal. Thus a violin in one cantata first imitates Diana’s hunting horns, and then, by being fitted with a mute, Pan’s newly cut pipe. The trumpets celebrating The Return of Peace are quite satisfactorily suggested by unison violins, and the shepherd's bagpipes are alluded to by two bass viols in Le Triomfe de la Constance. Emma Kirkby and London Baroque have previously demonstrated their grasp of the format, with recordings of solo cantatas by Handel that have met with great acclaim, for instance in BBC Music Magazine ('Emma Kirkby's virtuosity is splendid, but so is her characterisation... London Baroque lends admirable support… Outstanding') and in the German magazine Fono Forum ('Emma Kirkby performs the pieces with profound insights into human thought and emotions… and her interaction with London Baroque demonstrates in an impressive manner how a common musical understanding has matured and strengthened during years of collaboration.')
01. Cantates a voix seule, Book 1: Le retour de la paix: Vivement
02. Cantates a voix seule, Book 1: Le retour de la paix: Air: Tendrement
03. Cantates a voix seule, Book 1: Le retour de la paix: Legerement
04. Cantates a voix seule, Book 1: Le retour de la paix: Lent et detache
05. Cantates a voix seule, Book 1: Le retour de la paix: Leger et doux
06. Cantates a voix seule, Book 1: Le retour de la paix: Recitatif: Discorde, tes efforts vont etre superflus
07. Cantates a voix seule, Book 1: Le retour de la paix: Air des Trompettes
08. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
09. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air
10. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
11. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air: lent et mesure
12. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Symphonie: Modere
13. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
14. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air gai
15. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Recitatif
16. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air, lentement et tendrement
17. Cantates a une et a deux voix, Book 2: Pan et Syrinx: Air gai
18. Cantates a voix seule, Book 1: Le triomphe de la constance: Recitatif
19. Cantates a voix seule, Book 1: Le triomphe de la constance: Tendrement et un peu de mouvement
20. Cantates a voix seule, Book 1: Le triomphe de la constance: Recitatif
21. Cantates a voix seule, Book 1: Le triomphe de la constance: Tendrement
22. Cantates a voix seule, Book 1: Le triomphe de la constance: Recitatif
23. Cantates a voix seule, Book 1: Le triomphe de la constance: Air
24. Cantates a voix seule, Book 1: La mort de Didon: Lent, marque et detache
25. Cantates a voix seule, Book 1: La mort de Didon: Air: Lent
26. Cantates a voix seule, Book 1: La mort de Didon: Recitatif
27. Cantates a voix seule, Book 1: La mort de Didon: Vivement
28. Cantates a voix seule, Book 1: La mort de Didon: Recitatif
29. Cantates a voix seule, Book 1: La mort de Didon: Air
30. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Presto
31. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo
32. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Aria: Largo et affettuoso
33. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo
34. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Aria: Vivace - Adagio
35. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo: Adagio
36. Cantates a une et a deux voix, Book 3: Morte di Lucretia: Recitativo
An almost exact contemporary of François Couperin and only some 15 years older than Rameau, Michel Pignolet de Montéclair taught the children of the first-named and debated music theory with the latter. He is credited with introducing the new contrabass to the Paris opera orchestra of which he was a member, wrote a treatise on teaching, Petite méthode pour apprendre la musique, and in 1721 opened a music shop. But he was also a composer working in all the genres current at the time, including that of the chamber cantata for one or two voices and strings. During his lifetime 24 such works were published in three different collections, dealing mainly with subjects from classical history or mythology. The texts are anonymous, the large majority being in French with four Italian ones, including La Morte di Lucretia, recorded here. One of the challenges for the composer in these mini-operas with their restricted instrumentation is to provide an effective backcloth for the action with the limited means at his disposal. Thus a violin in one cantata first imitates Diana’s hunting horns, and then, by being fitted with a mute, Pan’s newly cut pipe. The trumpets celebrating The Return of Peace are quite satisfactorily suggested by unison violins, and the shepherd's bagpipes are alluded to by two bass viols in Le Triomfe de la Constance. Emma Kirkby and London Baroque have previously demonstrated their grasp of the format, with recordings of solo cantatas by Handel that have met with great acclaim, for instance in BBC Music Magazine ('Emma Kirkby's virtuosity is splendid, but so is her characterisation... London Baroque lends admirable support… Outstanding') and in the German magazine Fono Forum ('Emma Kirkby performs the pieces with profound insights into human thought and emotions… and her interaction with London Baroque demonstrates in an impressive manner how a common musical understanding has matured and strengthened during years of collaboration.')
Classical | FLAC / APE | HD & Vinyl
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