Tombeau Pour Monsieur

The penultimate release of our Scott Ross retrospective is dedicated to the music of Jean-Henry d’Anglebert, friend of Lully and pupil of Chambionnières, to whom he succeeded at the role of official harpsichordist at the Versailles court. His published works contain splendid suites and a few fugues for the organ, some of the most important works of French Baroque instrumental music. This collection also includes transcriptions of lute pieces by Mésangeau and Gaultier le Vieux.

The penultimate release of our Scott Ross retrospective is dedicated to the music of Jean-Henry d’Anglebert, friend of Lully and pupil of Chambionnières, to whom he succeeded at the role of official harpsichordist at the Versailles court. His published works contain splendid suites and a few fugues for the organ, some of the most important works of French Baroque instrumental music. This collection also includes transcriptions of lute pieces by Mésangeau and Gaultier le Vieux.

François Dufault (or Dufaut) (before 1604 (?) – ca. 1672?) was a French lutenist and composer. Dufault was born in Bourges, France. As a student of Denis Gaultier, he enjoyed an excellent reputation as an instrumentalist, which is demonstrated in many contemporary sources where he was described as one of the greatest lutenists of his time. Almost no information is preserved about his life. He died, probably during the end of the 1660s or early 1670s, in England. From his works has survived a collection of twelve lute compositions in tablature besides a few individual works in manuscript or other compilations. His works are written with a lot of harmonic freedom and nearly in an improvisatory style.

Der Name „Kuschel Klassik“ ist etwas irreführend, da viele der Stücke auf der Doppel-CD zu schwer klingen für romantische Momente. Dazu kommen noch Kompositionen aus der geistlichen Musik, die ebenfalls nicht zum Kuscheln einladen. „Entspannungs-Klassik“ träfe die Sache schon eher. Denn die Doppel-CD ist eine Einladung zu einem akustischen Kurzurlaub, der den Alltagsstress mit beruhigenden Klängen vergessen macht.

Philippe Pierlot and his superb Ricercar Consort present tributes to both Corelli and Lully with the two Apothéoses by François Couperin, written in the memory of Arcangelo Corelli and Jean-Baptiste Lully respectively. Behind them is an aesthetic programme: they are a plea for the mixture of the Italian and the French style, the so-called goûts réunis. The ensemble consists of Marc Hantaï and Georges Barthel (transverse flutes), François Fernandez and Sophie Gent (violins), Philippe Pierlot (viola da gamba), Eduardo Egüez (theorbo and guitar) and François Guerrier (harpsichord). Both pieces are given lively and expressive interpretations: Couperin's Apothéoses are in the tradition of the tombeau, and therefore the Tombeau de Monsieur de Lully by Jean-Féry Rebel fits well into the programme and is performed in between the two pieces by Couperin.

Philippe Pierlot and his superb Ricercar Consort present tributes to both Corelli and Lully with the two Apothéoses by François Couperin, written in the memory of Arcangelo Corelli and Jean-Baptiste Lully respectively. Behind them is an aesthetic programme: they are a plea for the mixture of the Italian and the French style, the so-called goûts réunis.

Jordi Savall - Monsieur de Sainte Colombe le fils & Marin Marais - Le Parnasse de la Viole (2003) {3CD Box Set Alia Vox AV9829}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 869 Mb | MP3 @320 -> 378 Mb
Full Artwork @ 300 dpi (png) -> 102 Mb | 5% repair rar
© 2003 Alia Vox | AV 9829 A/C
Classical / Baroque / Viola da gamba

Jordi Savall's exquisite three-disc box set entitled Le Parnasse de la viole is devoted to the passionately expressive and virtuosic music of two great French Baroque composers, Sainte-Colombe the Younger and Marin Marais. The six suites by Sainte-Colombe adhere to the familiar form established by the end of the seventeenth century; each consists of such familiar dances as the allemande, courante, sarabande, gigue, and gavotte.

The successful film Tous les matins du monde had the undisputed merit of bringing the world’s attention to the figure of Monsieur de Sainte-Colombe and to the viola da gamba in general, since Sainte-Colombe provided substantial contributions to the repertoire of this instrument. Still, the film’s plot was explicitly (and fully legitimately) grounded on a fictional work, a novel telling the history of Sainte-Colombe with references to what was, by then, known about him. Fortunately, a virtuous circle was ignited by the film, prompting new and meticulous research on his figure and effectively bringing to light some hard facts about his life.