Joannès

Ever since people have been falling in love, songs or poetry have been written and addressed to the heart of the beloved. It’s been like this for millennia and hopefully will never change. In the past, the authors of these love songs and poems have been kings, male and female troubadours, vagrant minstrels, maestri di cappella, impoverished poets and countless others of whom unfortunately all traces have been lost. They have all have left us with an inexhaustible wealth of poetry and music, whose earliest traces go back to the Middle Ages.

For the benefit of those listeners who think that one harpsichord is pretty much like another, and that they all sound the same, we strongly recommend this album from Marouan Mankar-Bennis – a follower of Olivier Beaumont, Bob van Asperen and Pierre Hantaï, and who is now performing with Vincent Dumestre and his Poème Harmonique, amongst many other projects – which is dedicated to Jean-François Dandrieu (1682 - 1738).

Das Rottenburger Jahrbuch für Kirchengeschichte (Bd. 34 [2015]) dokumentiert die wissenschaftliche Studientagung »Zwischen Aufklärung und Reaktion.

The 18th century had a dynamic musical scene in which much experimentation went alongside respect for accepted traditions. A wide range of hybrid forms emerged in the wake of the French dance suite and the new Italian solo sonata: not only sonatas with divergent forms and suites in which French character titles suddenly gave way to Italian tempo indications, but also everything in between. Korneel Bernolet here presents an anthology of European 'compiled' sonatas in the form of or derived from suites, alongside contrasting compositions that sought the true sonata form. He plays the Joannes Daniel Dulcken magisterial 1747 single-keyboard harpsichord, whose ambassador and titular player he is.