- Rentrée scolaire et universitaire : Livres, agendas, fournitures, sacs à dos, ordinateurs, ameublement …Profitez-en !
- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
Autres vendeurs sur Amazon
Concerts En Sextuor CD
|Écoutez maintenant avec Amazon Music|
Rameau: Concerts en sextuor
|Amazon Music Unlimited|
|Neuf à partir de||Occasion à partir de|
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Prime bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Voulez-vous nous parler de prix plus bas?
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Liste des titres
Disque : 1
Description du produit
Ricercar ne pouvait pas se passer de célébrer l année Rameau. L ensemble Les Dominos de Florence Malgoire rend cet hommage avec un répertoire très rarement joué. Il s agit de ce que Camille Saint-Saëns a nommé Concerts en Sextuor dans l édition monumentale des oeuvres de Rameau qu il a réalisée à la fin du XIXe siècle. Les Dominos nous en livrent une lecture colorée, associant deux instruments emblématiques de l orchestre de Rameau : la flute et le basson. "
Commentaires client les plus utiles sur Amazon.com
- La Coulicam
- Le Livri
- Le Vezinet
- La Laborde
- La Boucon
- 1er Menuet - 2e Menuet en rondeau
- La Popliniere
- La Timide
- 1er Tambourin - 2e Tambourin en rondeau
- La Pantomime
- La Rameau
- La Forqueray
- La Cupis
- La Marais
- La Poule
- 1er Menuet - 2e Menuet
- Les Sauvages
Performed by Concerts en Sextuor:
Violin 1 - Florence Malgoire
Violin 2 - Stephanie de Failly
Violin 3 - Simon Heyerbruck
Bass Violine with 5 Strings - Claire Giardelli
Cello - Cyril Poulet
Bassoon - Evolene Kiener
Flute & Piccolo 1 - Serge Saitta
Flute & Piccolo 2 - Amelie Michel
Harpsichord - Laurent Stewart
Direction - Florence Malgoire
PIECES FOR THE HARPSICHORD THAT YOU KNOW AND LOVE
The first five Concerts de Monsieur Rameau are, in fact, transcriptions in six parts of the Pièces de Clavecin en Concert that Rameau had conceived at the outset from his harpsichord pieces with accompaniment by violin or flute and bass viol. Rameau, in fact, would himself later provide a transcribed version for Harpsichord solo (in 1752).
This can be a bit confusing for those of us who only know the pieces contained in Concerts 1-5 of this recording as pieces for harpsichord solo. In Paris of that day, it was common practice to publish harpsichord pieces with rudimentary instructions - and sometimes annotations - for performing some of the harpsichord pieces with one or two instruments added. Francois Couperin "Le Grand" had already done so in his Livres de Clavecin 20 to 30 years before these pieces. Rameau did the same with his 2eme Livre de Clavecin, hence the potential confusion.
So if you're used to the 1st modern critical edition of Rameau's Complete Pieces for Harpschord, edited by Camille Saint-Saens and published in Paris, 1895, you'll find the pieces selected for Concert 6 starting on page 60 under "Nouvelles Suites de Pieces de Clavecin, ou 2e Livre (dapres l'Edition du temps)." The remaining 5 Concerts start at page 104 ff under the heading "5 Pieces Extraites des Pieces en Concerts, reduction pour clavecin seul par l'auteur (d'apres l'edition du temps)."
No doubt you're confused already, so I'll skip the historical details of how the Concerts came to be arranged for a larger ensemble than the one specified by Rameau. At least for now. Unfortunately, I cannot entirely avoid adding to your confusion by narrating how the 1st modern critical edition of Rameau's Complete WORKS dealt with these pieces. Saint-Saens' edition of the harpsichord pieces was, to be sure, part of this edition, and he edited the "concertante" chamber music version of the 5 Concerts as well, which were published in Paris in 1896, as well as the 1768 "arrangements" which most definitely weren't by Rameau (he had died 4 years earlier).
PIECES FOR AN ENSEMBLE THAT DOESN'T SOUND LIKE THE HARPSICHORD VERSION
Now, if you look at the modern critical edition of the 1768 arrangement, you'll see that it's scored for violins 1-3, alto, basses (2 violoncelles). Thus these pieces entered the modern string orchestra repertoire in France, and not in the instrumentation that you can hear in this recording. As Jerome Lejeune explains in the liner notes, some of the original manuscript parts all we know is that the first transcriptions are dated 1768, after which date we have no idea who did what in the process of transcribing all the parts until the cut-off date of 1843, when the Delacroix family handed their entire music collection over to the Bibliotheque Nationale de France, where it is now kept. Looking at the original manuscripts one can see that they're a mix-up of various copyists hands, with score indications that differ fairly substantially from Saint-Saens' edition. No doubt Saint-Saens had the best of intentions in trying to devise a performable score out of the manuscript hash.
Perhaps Saint-Saens was familiar with the string orchestra revival that was ongoing in the last quarter of the 19th century, and so decided that these concerts would sound best if played by a string orchestra (anyway, good luck finding a gamba player - which is what Rameau would have meant when using the term "viole" - in Paris in the 1890s). It is important to remember that at this time, the string orchestra was part of the romantic era revival of Bach and Handel, so even when composers wrote original works for string orchestra, they would call them "suites" or "serenades" as a reference to why they had chosen to compose using this kind of archaic ensemble format.
A COMPROMISE VERSION BETWEEN HARPSICHORD, HARPSICHORD AND 1-2 INSTRUMENTS, AND SMALL ORCHESTRA
Concerts en Sextuor take their own liberties with the pieces as well, though. A bassoon is only mentioned in the 5th Concert in the original manuscript, a flute and a harpsichord is only mentioned in Rameau's 1741 chamber version of the Concerts, and piccolos are mentioned nowhere at all. So what we are getting in this recording is a hybrid between Rameau's original version for harpsichord and one or two additional instruments and the 1768 transcription which was for 3 violins, viola and 2 bass instruments (which could have been 2 celli, cello and double bass, viola da gambas or any combination thereof at that time).
The musicians justify their approach with the argument that if you're going to perform these pieces today - more as period pieces using "original" instruments than as a transcription for a string sextet - you'd want to make them sound as close to the orchestral sound that Rameau would have been familiar: In French opera in Rameau's time flutes and bassoons were the favorite wind instruments (though Rameau's full instrumental pallette was very broad; he practically invented the art of instrumentation by his skill of combining a large body of string, woodwind, brass and percussion instruments for the musical accompaniment in his operas - he was the first French composer to call for a clarinet in Acante et Cephise in 1751), so these should be included in a performance to give the ensemble an authentic "French" baroque sound. Concerts en Sextuor's rationale for including a harpsichord in their ensemble is a bit less convincing. It's basically "if we have the bathwater, we may as well throw in the baby." Since the pieces were arranged for harpsichord solo by Rameau, let's just use it as well for the sake of the music's "baroquey" sound.
AS "THE CRITIC" WOULD SAY: "I LIKE IT!"
When I fist listened to the recording, I wasn't entirely convinced. Knowing the pieces quite well in their harpsichord solo version, I was used to tempi that were often faster than those chosen by Concerts en Sextuor. Also, when these pieces are played on a French two-manual harpsichord founded on the Flemish Ruckers design and encompassing about five octaves, the discant - especially when playing with both string sets - pronounces the bass line more clearly. The flutes combined with 3 violins decidedly make the music sound top-heavy.
However, after listening to the recording a few more times, I had to conclude that the sound the ensemble achieved was indeed remarkably similar to that of the "classical" French baroque orchestra sound. And, I reasoned, if I didn't like the French sound, I wouldn't have bought this CD in the first place, so I decided I liked the instrumental combination. The tempi are also something I got used to, especially after studying the scores of the pieces. The way the pieces are arranged make Schumann look like a genius symphonic orchestrator. There are lots of awkward passages, including legato broken octave passages in the bass, which isn't exactly easy to play on a cello. A bassoon can play a passage like that without trouble. So if you add in that you're dealing with a larger ensemble combining winds and strings, which have somewhat different tone ansatz reaction times, slightly slower tempi for ensemble reasons made sense. Ultimately, a performance is the sum of good musical taste and skill and not just a matter of individual virtuosity alone. Say what you will, but Concerts en Sextuor's musicians have excellent taste and perform magnificently as an ensemble.
Hence the conclusion: 5 stars up...er thumbs, I mean. The sound quality of the CD is also first rate even if I would have preferred a tad more bass. But whaddaheck; that's just nitpicking on my part so I'm very happy with this recording. I can highly recommend it to all aparte lovers of the French baroque music idiom.
The editorial This adaptation by M. Decroix is quite enigmatic, and Les Dominos give us a colourful reading of it, combining with the strings two emblematic instruments of Rameaus orchestra: flutes and bassoon.