What music are you listening to? | 2

[Typhoon]

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[Parodite]

As proof there exists a deep connection between music, language and thought

version 1
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version 2
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[Typhoon]

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[Apollonius]

Christmas now is drawing near / We've been awhile a-wandering (trad. English) - Sneak's Noyse, The City Waites
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This whole album has always been one of my favourites.

[Apollonius]

Performed closely to what Vivaldi himself and his audiences would have heard:


Gloria - Antonio Vivaldi (1678-1741)
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BBCFour programme of Vivaldi's Gloria performed by an all-female orchestra and choir in the Pieta in Venice.

But I think I like this version better:


Gloria - Antonio Vivaldi (1678-1741) ; Concerto Italiano directed by Rinaldo Alessandrini ; Sara Mingardo, contralto
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[Mr. Perfect]

I'm a sucker for this stuff so much. This is a producer from U2's better albums.

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[kmich]

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[Miss_Faucie_Fishtits]

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[kmich]

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[Apollonius]

Tremino, cremillo (from I due germani rivali) - Carlo Ambrogio Lonati (c. 1640-1712) ; Filippo Mineccia, countertenor ; Nereydas directed by Javier Ulises Illán
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Dormi o fulmine di guerra (from La Giuditta. Roma) - Alessandro Scarlatti (1660-1725) ; Filippo Mineccia, countertenor ; Nereydas directed by Javier Ulises Illán
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[Typhoon]

Reconstruction of the Viola Organista designed by Leonardo da Vinci

[Apollonius]

Thanks for that Col. Sun!


That was really and truly interesting.

[Apollonius]

Ballet Royal de la Nuit premiered on February 23, 1653 and was performed in quick succession on five subsequent evenings. The information on YouTube credits Lully with its musical composition, but it is doubtful that he contributed. The music is by Jean de Cambefort, Jean-Baptiste Boësset, Michel Lambert and possibly others.

Louis XIV was fifteen years old when he played the part of Apollo, the Sun King.

This modern production recreates the ballet for modern audiences.

The 2015 recording contained only two-thirds of the original dances and presented a programme constructed after the manner of a 'jubilee' concert at which Louis XIV, well before his death, might have wished to hear once more everything that had delighted him in the early years of his reign. While this initial version respected the structures of the original ballet, twenty-seven entrées were still missing. In January 2015, when we recorded the music in Grenoble, I had not succeeded in reconstructing these entrées, whose style resisted my efforts. From then on, my aim was to finish off this work so that the complete Ballet Royal de la Nuit could be heard for the first time in a production staged in November 2017.

-- Sébastien Daucé

[...]

In comparison with the other royal ballets of the seventeenth century, the Ballet Royal de la Nuit is relatively well preserved and documented. In addition to several contemporary reports or commentaries, a printed wordbook, illustrated with engravings depicting the decors and scenes from the four 'watches' and the concluding grand ballet, provides us with the scenario, the verse, the cast, and precious stage directions. The appareil of the ballet is also known to us thanks to two important sets of drawings, touched up wit gouache or watercolours, that show the rich costumes, masks, accessories and attitudes of the characters, the magnificent backcloths, and other aspects of the decor.

-- from the accompanying Deluxe Edition book published by Harmonia Mundi in 2017.

Ballet Royal de la Nuit - Correspondances directed by Sébastien Daucé
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[Typhoon]

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[Typhoon]

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[Typhoon]

Not quite sure in which thread this belongs . . .

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[Typhoon]

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[Typhoon]

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[Apollonius]

Should have posted this a couple of months ago:


Home listening: a whole lot of Couperin going on - Nicholas Kenyon, The Guardian, 25 November 2018
https://www.theguardian.com/music/2018/ ... coboy-meun

The 350th anniversary of the French composer’s birth is the perfect time to reconsider his output

Why has the French baroque composer François Couperin (1668-1733) never quite made it to the top of the list of great masters? There’s so much to admire in the quirkiness and imagination of his music, with its bizarre descriptive titles, and he produced some of the most sensual religious music ever written. Maybe it’s because, unlike Rameau or Handel, he never wrote an opera; maybe also because his keyboard music never became really popular (as Bach’s did) on the piano.

It's a little astonishing to have this writer for the arts section of The Guardian go out of his way to rave about several piano versions of Couperin. Why? They weren't composed for the piano. They don't sound nearly as good on the piano as they do on the harpsichord.


Kenyon does go on to mention a newly released set of recordings performed by Bertrand Cuiller called Couperin L’Alchimiste.



If you go to his link you can hear little excerpts from the beginning of each track.

[Apollonius]

Easily his most famous piece:



Les Baricades Mistérieuses - François Couperin (1668-1733) ; Luc Beauséjour, harpsichord
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Another YouTube recording (now vanished, as so much else) included this description:

Alas, nobody knows exactly and surely what is the real significance of "les baricades mistérieuses". The most credible explanation is the following. In Couperin's time "les baricades mistérieuses" would referred to the numerous petticoat women wore under their dress. Evidently these "baricades mistérieuses" hid a mysterious and private body part of ladies. Petticoats were so called "baricades mistérieuses" because they formed obstacles against the lover's attempts.

And from the notes to an eleven CD set of recordings of Couperin's complete 4 Livres of Pièces de clavecin performed by Michael Borgstede who writes:

Couperin is himself frustratingly tight-lipped about the meanings of the descriptive names he added to many of his harpsichord works. In the preface to his first Livre he writes: "I have always had a subject when composing these pieces; different occasions have provided it. Thus the titles relate to ideas that have occurred to me, and I shall be forgiven if I do not account for them." However, one is tempted not to grant Couperin the forgiveness for which he pleaded for a clear definition of these enigmatic titles would greatly help us to understand the meaning of the pieces to which they are amended. Numerous performers and musicologists have wracked their brains over these titles. Some have declared them whimsical and unimportant for the interpreter, others have looked for surprisingly imaginative 'solutions'.

Some pieces have have more straightforwardly understandable titles:



L'Adolescente (from Deuxième Livre, Septième Ordre) - François Couperin (1668-1733) ; Blandine Verlet, harpsichord
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L'Arlequine (from Quatrième Livre, Vingt-Troisième Ordre)- François Couperin (1668-1733) ; Ernst Stolz, harpsichord
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[Parodite]

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[Typhoon]

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[Typhoon]

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[Typhoon]

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[Doc]

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