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Alberto Rasi - Jeux d'harmonie (2017)

Posted By: Pisulik
Alberto Rasi - Jeux d'harmonie (2017)

Alberto Rasi - Jeux d'harmonie (2017)
Classical | MP3 CBR 320 kbps | 01:02:14 | 143 MB
Label: Stradivarius | Release Year: 2017

In seventeenth-century France, every aspect of fashionable society was governed by the laws of galanterie, which behind the règles de bienséance et de politesse hid their only purpose: seduction. Music, too, was part of this, with all the seductive power that it possesses, in the social rituals in the salons, the temples of vivre galant; it, too, adapted so much to the styles of salon conversation, that already Marine Mersenne (Harmonie universelle, 1637) spoke of musical interpretation (in reference to singing) as the Art de l’Orateur Harmonique, which must “know all the nuances, the tempi, the movements and the accents to arouse everything he desires in those who listen”. In effect, also this is the art of seduction, which the human voice is able to practise better than any other instrument.

While singing remains the term of reference for representation in sound of affections, the most important of the instruments is the viola da gamba, able to imitate the voice “in all its modulations and its accents of joy and sadness agility, gentleness and strength, vivacity and languidness”. These are more words from Mersenne, who compared the excellence of the players in the bons concerts de Violes to the “grace of a perfect Orator”. Besides its expressive qualities, the viola da gamba possessed the ancient nobility of tradition and innate elegance of gesture that in a setting as attentive to detail and appearance as the salons became an important advantage. The player’s posture and movements, and the ability to behave with the grace of a galant homme, were perceived as an element in social communication. Treatises and Avertissements introducing the collections of viol works identified a close relationship between instrumental technique and the gestures that express it, as if to say that the aesthetics of sound and those of the gesture are a unified whole. In the game of musical seduction, what pleases the ear must please the eye.

Violinists disagreed about how best to express on the instrument the art of the orateur harmonique. For Jean Rousseau, “the viola da gamba is equal to the voice and its aim must be to imitate that unique model of beauty which is the voice and its ornaments”; it is just because the viola is the instrument closest to the voice that in playing it “the melody must preferably dominate over the harmony, as its soul is in the grace of the singing, and this is the only reason it is valued” (Traité de la viole, 1687). In the jeu de melodie, in the pure melodic dimension, the natural vocation of the instrument to “tenderness [tendresse] of sound due to fine bowing which are its soul, and mellow it so beautifully so anyone who listens is enthralled”

TRACKLIST

01. Pièces de viole, Book 1, Suite No. 1 in D Minor: No. 1, Prélude
02. Pièces de viole, Book 4, Suite No. 1 in D Minor: No. 4, Caprice
03. Pièces de viole, Book 2, Suite No. 3 in D Major: No. 63, Les voix humanes
04. Pièces de viole, Book 3, Suite No. 4 in D Major: No. 54, Rondeau
05. Pièces de viole, Book 4, Suite d'un goût etranger: No. 80, Arabasque
06. Pièces de viole, Book 4, Suite d'un goût etranger: No. 82, La rêveuse
07. Pièces de viole, Book 3, Suite No. 8 in C Major: No. 109, Caprice
08. Pièces de viole, Book 3, Suite No. 8 in C Major: No. 110, Allemande - No. 111, Double
09. Pièces de viole, Book 4, Suite No. 4 in A Minor: No. 28, Musette - No. 29, Musette
10. Pièces de viole, Book 5, Suite No. 1 in A Minor: No. 15, Rondeau moitié pincé
11. Pièces de viole, Book 4, Suite d'un goût etranger: No. 55b, Marche tartare
12. Pièces de viole, Book 4, Suite d'un goût etranger: No. 58, La tartarine - 59. Double
13. Pièces de viole, Book 5, Suite No. 7 in E Minor: No. 107, Le caprice Bellemont
14. Pièces de viole, Book 3, Suite No. 6 in G Minor: No. 91, Le Moulinet
15. Pièces de viole, Book 2, Suite No. 4 in G Major: No. 82, Chaconne en rondeau
16. Pièces de viole, Book 2, Suite No. 6 in E Minor: No. 101, Sarabande a l'español
17. Pièces de viole, Book 5, Suite No. 6 in G Major: No. 87, Le joue du volent