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17,95 €

Le dessus de viole
Música para viola tiple del París del XVIII


REF.: PAN 10279
EAN 13: 7619990102798
Si realiza el pedido hoy, este producto estará listo para ser enviado el lunes 01/06/2020


FECHA DE PUBLICACIÓN
30/10/2012

INTÉRPRETES
Hamburger Ratsmusik
Simone Eckert, director


CONTENIDO

Le dessus de viole
Música para viola tiple del París del XVIII

CD 1

Louis Heudelinne (c1680-c1705)

1-12. Suite nº 1 en re menor
13-22 Suite nº 2 en re menor
23-33. Suite nº 3 en sol menor

CD 2

Charles Henri Blainville (c1711-1771)

1-21. Sonatas I, II, III, IV, V y VI

2 CD - DDD - 142'50''


RESEÑA (La Quinta de Mahler)

The moral ideas in eighteenth century France banned women, for reasons of "propriety", from playing most instruments because the "physical posture" clashed with "moral decency", according to a contemporary source. The treble viol, which because of its small size is not held between the knees but is played (with closed legs) on the lap, was one of the exceptions. The "dessus de viole" or the "pardessus de viole", pitched a fourth higher, is rarely heard as a solo instrument, but the treble viol only gained some importance for the first time towards the end of the eighteenth century. The viola da gamba player Simone Eckert devotes this double CD to two important French composers for the instrument. Louis Heudelinne was a contemporary of Marin Marais, but, despite that, he did not succeed in gaining a foothold in the Versailles court of Louis XIV. Stylistically, the works of both composers are quite close, though Heudelinne's pieces for treble viol are basically conceived as melodydriven.

His Livre Premier, which appeared in 1701, stands out through its extremely high technical level, exhausting all the possibilities of the treble viol. Double stops, arpeggios and virtuoso runs display all the agility and virtuosity that is possible on this instrument. Even Charles Henri Blainville, who above all made his name as the author of theoretical writings, was not among the most celebrated and successful musicians of the court. In the heated debate on whether the French or the Italian style is preferable, he clearly took neither side, and so his Sonates pour le Dessus de Viole, which appeared c. 1750, reflect French as much as Italian influences.

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