Le Concerto Rococo, Jean-Patrice Brosse, Nicolas Mazzoleni, Roberto Crisafulli, Antoine Ladrette, Dombrecht Pietr, Claude Maury - Balbastre: Quatre sonates pour clavecin, 2 violons, 2 cors & basse (1994)
BAND/ARTIST: Le Concerto Rococo, Jean-Patrice Brosse, Nicolas Mazzoleni, Roberto Crisafulli, Antoine Ladrette, Dombrecht Pietr, Claude Maury
- Title: Balbastre: Quatre sonates pour clavecin, 2 violons, 2 cors & basse
- Year Of Release: 1994
- Label: Pierre Verany
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:00:01
- Total Size: 308 mb
- WebSite: Album Preview
Tracklist
01. Quatuor No.4, Op. 3: Allegro
02. Quatuor No.4, Op. 3: Andante pastorale
03. Quatuor No.4, Op. 3: Allegro
04. Quatuor No.3, Op. 3: Allegro moderato
05. Quatuor No.3, Op. 3: Romance
06. Quatuor No.3, Op. 3: Presto
07. Quatuor No.1, Op. 3: Allegro moderato
08. Quatuor No.1, Op. 3: Andante
09. Quatuor No.1, Op. 3: Allegro assai
10. Quatuor No.2, Op. 3: Adagio-Allegretto
11. Quatuor No.2, Op. 3: Andantino
12. Quatuor No.2, Op. 3: Minuetto
La vie des mots est parfois soumise aux caprices des temps ; et la terminologie esthétique en est alors victime. Un terme peut voir sa signification passer du péjoratif à l’élogieux : ainsi du gothique (de Coth), encore considéré à l’époque de Diderot comme le produit d’envahisseurs barbares ; ainsi du baroque (du portugais “baruecco” : perle irrégulière) dans lequel Rousseau voit “une harmonie confuse, chargée de modulations et de dissonnances” ; ainsi du maniérisme, de l’art pompier ou du rococo…
The life of words is sometimes subject to the vagaries ot the times; and the terminology of style has often fallen a victim. The meaning of a term may pass from the derogatory to the laudatory: this is the case with the word “Gothie” (from Goth), which was still considered in Diderot’s time as the product of barbarian invaders; likewise, “baroque” (from the Portuguese “barruecco”: an irregular pearl), in which Rousseau saw “a confused harmony, laden with modulations and dissonances”; and “mannerism”, “art pompier” and “rococo”…
01. Quatuor No.4, Op. 3: Allegro
02. Quatuor No.4, Op. 3: Andante pastorale
03. Quatuor No.4, Op. 3: Allegro
04. Quatuor No.3, Op. 3: Allegro moderato
05. Quatuor No.3, Op. 3: Romance
06. Quatuor No.3, Op. 3: Presto
07. Quatuor No.1, Op. 3: Allegro moderato
08. Quatuor No.1, Op. 3: Andante
09. Quatuor No.1, Op. 3: Allegro assai
10. Quatuor No.2, Op. 3: Adagio-Allegretto
11. Quatuor No.2, Op. 3: Andantino
12. Quatuor No.2, Op. 3: Minuetto
La vie des mots est parfois soumise aux caprices des temps ; et la terminologie esthétique en est alors victime. Un terme peut voir sa signification passer du péjoratif à l’élogieux : ainsi du gothique (de Coth), encore considéré à l’époque de Diderot comme le produit d’envahisseurs barbares ; ainsi du baroque (du portugais “baruecco” : perle irrégulière) dans lequel Rousseau voit “une harmonie confuse, chargée de modulations et de dissonnances” ; ainsi du maniérisme, de l’art pompier ou du rococo…
The life of words is sometimes subject to the vagaries ot the times; and the terminology of style has often fallen a victim. The meaning of a term may pass from the derogatory to the laudatory: this is the case with the word “Gothie” (from Goth), which was still considered in Diderot’s time as the product of barbarian invaders; likewise, “baroque” (from the Portuguese “barruecco”: an irregular pearl), in which Rousseau saw “a confused harmony, laden with modulations and dissonances”; and “mannerism”, “art pompier” and “rococo”…
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