Ralph Rousseau - Gambomania (2009)
BAND/ARTIST: Ralph Rousseau
- Title: Gambomania
- Year Of Release: 2009
- Label: Challenge Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:54:53
- Total Size: 256 mb
- WebSite: Album Preview
Tracklist
01. The First Part of Ayres for the Viole de Gambo Alone: My Mistress Hath a Pritty Thing
02. Le Quatrième Livre de Pièces de Viole: Arabesque
03. Sonata In D Minor: Allegro
04. Sonata In D Minor: Adagio
05. Sonata In D Minor: Tempo Di Minuet
06. Sonata In D Minor: Allegro
07. Le Quatrième Livre de Pièces de Viole: La Reveuse
08. Cors de Chasse In D Major
09. The First Part of Ayres for the Viole de Gambo Alone: A Question
10. Sonata V In e Minor from L'Echo Du Danube: Adagio
11. Sonata V In e Minor from L'Echo Du Danube: Aria Largo
12. Sonata V In e Minor from L'Echo Du Danube: Gavotta
13. Sonata V In e Minor from L'Echo Du Danube: Adagio
14. Sonata V In e Minor from L'Echo Du Danube: Giga Vivace
15. Sonata V In e Minor from L'Echo Du Danube: Aria
16. The First Part of Ayres for the Viole de Gambo Alone: An Answere
17. The First Part of Ayres for the Viole de Gambo Alone: Now I Come
This “Tour de Gamba” provides a representative survey of the evolution of music for the bass viol from its’ beginnings until its’ extinction at the times when the Viennese classic style emerged. With Great Britain, France and Germany all represented, it touches the main geographical centers of viola da gamba-playing. The program is framed and punctuated by works by two main figures of viol-playing: Captain Tobias Hume (c. 1569-1645), whose First Part of Ayres (London 1605) is the very first volume of music written expressly and exclusively for the bass viol ever published in print; and Marin Marais (1656-1728), gamba-player at the court of Louis XIV., who earned the title of a «Chopin of the bass viol» by the breadth and audaciousness of his voluminous œuvre for this instrument. Inserted in this framework are pieces by the enigmatic Johannes Schenck (1660-after 1717), pupil of Marais’ and active in Amsterdam and Düsseldorf, by the equally enigmatic pupil of Marais’ Louis de Caix d’Hervelois (c.1680-c.1760) who might have belonged to the famous and extended family of gamba-players of the same name as well as works by Karl Friedrich Abel (1723-1787), the so called «last gambist».
01. The First Part of Ayres for the Viole de Gambo Alone: My Mistress Hath a Pritty Thing
02. Le Quatrième Livre de Pièces de Viole: Arabesque
03. Sonata In D Minor: Allegro
04. Sonata In D Minor: Adagio
05. Sonata In D Minor: Tempo Di Minuet
06. Sonata In D Minor: Allegro
07. Le Quatrième Livre de Pièces de Viole: La Reveuse
08. Cors de Chasse In D Major
09. The First Part of Ayres for the Viole de Gambo Alone: A Question
10. Sonata V In e Minor from L'Echo Du Danube: Adagio
11. Sonata V In e Minor from L'Echo Du Danube: Aria Largo
12. Sonata V In e Minor from L'Echo Du Danube: Gavotta
13. Sonata V In e Minor from L'Echo Du Danube: Adagio
14. Sonata V In e Minor from L'Echo Du Danube: Giga Vivace
15. Sonata V In e Minor from L'Echo Du Danube: Aria
16. The First Part of Ayres for the Viole de Gambo Alone: An Answere
17. The First Part of Ayres for the Viole de Gambo Alone: Now I Come
This “Tour de Gamba” provides a representative survey of the evolution of music for the bass viol from its’ beginnings until its’ extinction at the times when the Viennese classic style emerged. With Great Britain, France and Germany all represented, it touches the main geographical centers of viola da gamba-playing. The program is framed and punctuated by works by two main figures of viol-playing: Captain Tobias Hume (c. 1569-1645), whose First Part of Ayres (London 1605) is the very first volume of music written expressly and exclusively for the bass viol ever published in print; and Marin Marais (1656-1728), gamba-player at the court of Louis XIV., who earned the title of a «Chopin of the bass viol» by the breadth and audaciousness of his voluminous œuvre for this instrument. Inserted in this framework are pieces by the enigmatic Johannes Schenck (1660-after 1717), pupil of Marais’ and active in Amsterdam and Düsseldorf, by the equally enigmatic pupil of Marais’ Louis de Caix d’Hervelois (c.1680-c.1760) who might have belonged to the famous and extended family of gamba-players of the same name as well as works by Karl Friedrich Abel (1723-1787), the so called «last gambist».
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