Adam Pearl - Pieces De Clavecin: Balbastre, Duphly, Forqueray & Royer (2018)
BAND/ARTIST: Adam Pearl
- Title: Pieces De Clavecin: Balbastre, Duphly, Forqueray & Royer
- Year Of Release: 2018
- Label: Plectra Music
- Genre: Classical Harpsichord
- Quality: flac lossless
- Total Time: 01:14:20
- Total Size: 502 mb
- WebSite: Album Preview
Tracklist
01. La de Caze
02. La d'Héricourt
03. La Lugeac
04. Les Grâces
05. Médée
06. La Fourqueray
07. Chaconne
08. La Angrave
09. La du Vaucel
10. La Morangis ou la Plissay
11. Allemande
12. La Sensible
13. La Marche des Scythes
The French school of harpsichord music begun so successfully with the music of Jacques Champion Sieur de Chambonnières (1601/2-1672), was followed by works of Louis Couperin (1626-1661), Jean Henry D'Anglebert (1629-1691) and reached the height of its flowering with the music of François Couperin (1668-1733) and Jean Philippe Rameau (1683-1764). While it is commonly assumed that Couperin's and Rameau's music flowered during the reign of Louis XIV, it was actually after Louis' death in 1715 that many of their keyboard works appeared. During the reign of Louis great-grandson, Louis XV (1723-1774) the harpsichord became highly popular, with the production of large numbers of two manual instruments and many brilliant compositions written for them. During the 1750s, however, Rameau lived to witness the decline of the harpsichord. Italian style gained ascendency over the French. With Johann Antonin Stamitz s (1717-1757) visit to Paris in 1754, there was a strong influence from the Mannheim Court that soon became the vogue. Johann Schobert (c1735-1767) visited Paris in 1760 or 1761 and believed that his music completely destroyed the reputation of Jacques Duphly (1715-1789), Claude Balbastre (1724-1799) and Armand-Louis Couperin (1727-1789). Rameau however, thought that music was going to wrack and ruin; people are changing style at every instance. He looked to his compatriots to uphold the French tradition, which occurred with the publication of the Pièces de clavecin volumes by Duphly in 1744, 1748, 1756 and 1768, Joseph-Nicolas-Pancrace Royer in 1746, Balbastre in 1759 and Armand-Louis Couperin in 1751, 1765, 1772 and 1773. Their works were strongly French in character, although not traditional. These pieces are among the last eighteenth century works to be truly idiomatic for the harpsichord.
01. La de Caze
02. La d'Héricourt
03. La Lugeac
04. Les Grâces
05. Médée
06. La Fourqueray
07. Chaconne
08. La Angrave
09. La du Vaucel
10. La Morangis ou la Plissay
11. Allemande
12. La Sensible
13. La Marche des Scythes
The French school of harpsichord music begun so successfully with the music of Jacques Champion Sieur de Chambonnières (1601/2-1672), was followed by works of Louis Couperin (1626-1661), Jean Henry D'Anglebert (1629-1691) and reached the height of its flowering with the music of François Couperin (1668-1733) and Jean Philippe Rameau (1683-1764). While it is commonly assumed that Couperin's and Rameau's music flowered during the reign of Louis XIV, it was actually after Louis' death in 1715 that many of their keyboard works appeared. During the reign of Louis great-grandson, Louis XV (1723-1774) the harpsichord became highly popular, with the production of large numbers of two manual instruments and many brilliant compositions written for them. During the 1750s, however, Rameau lived to witness the decline of the harpsichord. Italian style gained ascendency over the French. With Johann Antonin Stamitz s (1717-1757) visit to Paris in 1754, there was a strong influence from the Mannheim Court that soon became the vogue. Johann Schobert (c1735-1767) visited Paris in 1760 or 1761 and believed that his music completely destroyed the reputation of Jacques Duphly (1715-1789), Claude Balbastre (1724-1799) and Armand-Louis Couperin (1727-1789). Rameau however, thought that music was going to wrack and ruin; people are changing style at every instance. He looked to his compatriots to uphold the French tradition, which occurred with the publication of the Pièces de clavecin volumes by Duphly in 1744, 1748, 1756 and 1768, Joseph-Nicolas-Pancrace Royer in 1746, Balbastre in 1759 and Armand-Louis Couperin in 1751, 1765, 1772 and 1773. Their works were strongly French in character, although not traditional. These pieces are among the last eighteenth century works to be truly idiomatic for the harpsichord.
Year 2018 | Classical | FLAC / APE
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