Fiona McGown – mezzo-soprano
Margaux Blanchard – viola da Gamba
Ensemble – Les Ombres:
Violin – Théotime Langlois de Swarte
Pianoforte] – Justin Taylor
Flûte Traversière – Sylvain Sartre
Cello – Hanna Salzenstein
Johann Christian BACH (1735-1782): Quartet No. 2 in D Major, Op. 8, W.B 52 6:29
I. Andante. Rondo Allegro 3:43
II. Rondeau. Allegro assai 2:46
Carl Friedrich ABEL (1723 -1787): 27 Pieces for Bass Viol, WK 186-212:
IX. [Prelude] in D Major, WKO 194 1:56
Joseph HAYDN (1732-1809): A selection of Original Scots Songs in Three Parts, The Harmony by Haydn, Volume 2: I. Mary’s Dream, Hob.XXXIa:1 6:09
ABEL, C F: Zehn Sonaten für Viola da Gamba und basso continuo, WK 150 10:10
I. Allegro 4:10
II. Adagio 2:53
III. Vivace 3:07
HAYDN: A selection of Original Scots Songs in Three Parts, The Harmony by Haydn, Volume 2: II. John Anderson, my Jo, Hob.XXXIa:2 2:16
Johann Samuel SCHROETER (Schröter1753-1788): Harpsichord Quintets in C Major, Op. 1 15:53
I. Allegro 5:36
II. Largo 5:56
III. Allegro 4:21
ABEL, C F: 27 Pieces for Bass Viol, WK 186-212: [Prelude] in D Minor, WK 205 2:13
SCHROETER, J S: Sonata No. 6 , Op. 7: Allegro ma non tropo 5:05
ABEL, C F: Quartet in G Major, WKO 227: I. Allegro moderato 7:50
ABEL, C F: Sonata a due flauti o violini e violoncello, Op. 3 No. 1: II. Adagio ma non troppo 3:53
ABEL, C F: Quartet in G Major, WKO 227: II. Allegretto 2:46
BACH, J C: Sonatas No. 3 in C Major, Op. 16: II. Tempo di Minuetto 3:06
HAYDN: A selection of Original Scots Songs in Three Parts, The Harmony by Haydn, Volume 2: III. I Love my Love in Secret, Hob.XXXIa:3 1:41
Label: Mirare, 09.2022 – MIR 584
Barcode: 3760127225850
Review from Grammophone: “the individual performances here from Les Ombres are fantastic. Many special sound worlds are captured, and the gorgeously malleable flute of Sylvain Sartre contributes much to this. As does the stunning playing by Justin Taylor.”
The Bach-Abel concerts were a series of public concerts that eventually gave way to the development of modern day concert series. The concerts where created in collaboration with his friend and German virtuoso viola da gamba player, Carl Friedrich Abel. These concerts first started at Abel’s residence but an increase in popularity led to these concerts being held at larger venues. They featured new works, by Bach and Abel, but also newer musical artists, such as Haydn, giving them a platform to feature their works on a public stage. Because these concerts required a subscription, they cultivated a regular audience as the audience members prepaid for that season’s concert series. Furthermore, the Bach-Abel concerts allowed the middle class greater access to live classical music. Previously, live music performances were limited to private, aristocratic settings; however, these subscription concerts were made available to the wider public, allowing middle class people to engage in the arts and society. The Bach-Abel concerts decreased in popularity and ended due to changing musical tastes and Bach’s death
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