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Rameau: L’Orchestre de Louis XV
Les Indes Galantes 1735:
Ouverture, Musette en Rondeau, Air vif, Air des Incas pour la dévotion du Soleil, Air pour les amants qui suivent Bellone, Air pour les guerriers, Menuets pour les Guerriers et Amazones I&II
Orage, Air pour les esclaves africains, Air pour Borée et la Rose, 2ème Air pour les Zephirs, Tambourins I/II, Chaconne
Ouverture, Musette tendre, Rigaudons I /II, Sarabande, Gavotte pour les Zéphirs, Loure, Musette, Tambourins I/II, Entrée des Luteurs, Chaconne, Air de Triomphe
Ouverture, Passepieds I/II, Loure, Air des Esprits, Infernaux II, Air tendre en Rondeau, Air Grave, Gavotte en Rondeau, Sarabande, Contredanse
Les Boréades 1764:
Suite d’Orchestre, Ouverture, Entrée, Entrée des Peuples, Contredanse en rondeau, Les Vents Gavotte I&II pour les heures et les Zephirs, Menuets I- II, Contredanse très vive
Following the success of the albums L’ Orchestre de Louis XIII (Philidor l’Aisné) and L’ Orchestre du Roi Soleil (Lully), Jordi Savall delivers another dynastic opus consisting of music by Jean-Philippe Rameau. Le Concert des Nations sparkles in these four orchestral suites which document the genius of the French composer and Jordi Savall’s affinity with the repertoire of the the XVIIIth century.
“With a large and varied orchestra and (optional) surround sound, Jordi Savall revels in the unmatched opulence, extravagance and scale of mid-18th century France...The music is divorced from its dramatic context and the visual accompaniment of costume, dancing and scenery, but is speaks splendidly for itself, displaying Rameau's kaleidoscopic orchestration and arresting devices...A magnificent production - the high Baroque doesn't get higher than this” BBC Music Magazine, October 2011 *****
“The Chaconne ending Les Indes Galantes shows Savall's breadth, roving with equal conviction from pastoral sensuality to blazing, robust militarism. The whiplash strings of the Nais Overture free an infectious rhythm and the off-beat timpani create thrilling thunder in a voluminous acoustic.” Classic FM Magazine, September 2011 ****
“The exhilarating effect of this joyous music could scarcely be better conveyed. Savall has chosen his “suites” to reflect the astonishing variety of Rameau’s instrumentation and inventiveness as a composer of ballet music...The wonderfully windy music for Les Boréades (sons of Boréas, the north wind) culminates in a sizzling contredanse très vive — guaranteed to set the toes tapping.” Sunday Times, 26th June 2011 *****
“This is dance music of dizzying variety and instrumental colour...There's lively, rumbustious playing from Le Concert des Nations...The angular contredanses with their quirky intervals, and the magnificent chaconnes, are splendid – the one for Naïs (1748), involving dancing athletes, boxers, runners and wrestlers, is made for the Olympics opening.” The Observer, 19th June 2011
“Jordi Savall and his ebullient Baroque orchestra, Le Concert des Nations, have released recordings of the music Philidor wrote for Louis XIII, and Lully for Louis XIV. All is eclipsed by the double-CD of Rameau’s fabulously spirited rococo pieces for Louis XV’s orchestra...these suites have a tunefulness, an instrumental diversity and a quirky joyousness that even the most curmudgeonly Anglo-Saxon soul will find hard to resist.” The Times, 18th June 2011 ****
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Le Concert Spirituel
At the time of Louis XV
According to my good friend Wikipedia, the Concert spirituel was one of the first public concert series in existence. The concerts began in Paris in 1725 and ended in 1790. The series was founded to provide entertainment during Lent and on religious holidays when the other spectacles (the Paris Opera, Comédie-Française, and Comédie-Italienne) were closed. The programmes featured a mixture of sacred choral works and virtuosic instrumental pieces, and for many years took place in a magnificently-decorated Salle des Cent Suisses (Hall of the Hundred Swiss Guards) in the Tuileries Palace. They started at six o’clock in the evening and were primarily attended by well-to-do bourgeois, the lower aristocracy and foreign visitors. Jordi Savall brings these magnificent evenings back to life, thanks to an imaginary ‘concert spirituel’ programme featuring 3 major composers from Italy, Germany and France : Corelli, Telemann and Rameau. This album enables us to (re)discover the quintessence of the musical life during the reign of Louis XV. Enrico Onofri recently appeared at the Lufthansa Baroque Festival directing the European Union Baroque Orchestra and his own Ensemble Imaginarium.
“Savall reaches out to explore the expressive extremes. Corelli's textures are dense and complex, three solo strings set against, here, ten more strings, playing immaculately. SACD helps greatly in differentiating the sounds...Sumptuously produced with generous notes, this release is highly recommended.” BBC Music Magazine, September 2010 *****
“The performances display characteristics typical of any under Jordi Savall's direction: richly toned, suave and confidently at ease with the style.” Gramophone Magazine, Awards Issue 2010
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Rameau - Opera Transcriptions
Les Indes Galantes, Prologue: Ouverture
Platée, Acte III, Scène 6: Musette en Quatuor
Zoroastre, Acte II: Menuet en Trio – Second Menuet en Duo
Platée, Acte I, Scène 6: Tambourin
Platée, Acte III, Scène 8: Choeur en rondeau
Zoroastre, Acte I: Air dans le goût de la romance
Hippolyte et Aricie, Acte III: Tambourins
Les Indes Galantes, Quatrième Entrée:
Danse des Sauvages, dans le goût du concerto
Les Boréades, Acte IV, Scène 4: Entrée
Platée, Acte II, Scène 5: Menuet dans le goût de la vièle
Les Indes Galantes, Troisième Entrée: Air vif pour Zéphir et les Fleurs,
Tendre Amour, choeur de voix humaines
Dardanus, Acte III, Scène 3: Rigaudon
Dardanus, Acte III, Scène 1: Prélude
Hippolyte et Aricie, Acte III, Scène 1: Fuguette
Hippolyte et Aricie, Acte I, Scène 4: Tempête
Castor et Pollux, Acte I, Scène 3: Air "Tristes apprêts"
Zoroastre, Acte I: Sarabande en trio
Dardanus, Prologue: Air tendre sur les flûtes
Les Fêtes d'Hébé, Troisième Entrée, Scène 7: Tambourin en rondeau – Duo
Les Indes Galantes, Troisième Entrée: Gavottes
Les Indes Galantes, Deuxième Entrée: Tierce en taille – Air en récit – Trio – Duo
Les Indes Galantes, Quatrième Entrée: Chaconne
Yves Rechsteiner (Cintegabelle organ) & Henri-Charles Caget (percussion)
NORMAL PRICE SACD [5.1] + BOOK
Packaged in digipack longbox format, 78”
The organ is not just a musical instrument; it’s also a fascinating machine, whose complexity has increased over the centuries. This new collection aims to discover and to get closely acquainted with them within the context that surrounds the instrument. It’s quite normal, when entering into a church, to look up and see if an instrument is installed in the building. An organ is not merely about producing sounds, it occupies a place in space and architecture. In order to reflect the power of this spatiality, Alpha have decided to use multi-channel sound in 5.1, for the benefit of music lovers equipped with SACD technology. By introducing instruments chosen for their exceptional features, they wish to make the personality of each instrument more distinguishable. The first reference of the collection is devoted to the organ of Cintegabelle, near Toulouse, consecrated in 1747, uprooted during the French Revolution and refurbished in 1989, a magnificent instrument whose sounds colour an original programme of transcriptions compiled from Rameau’s operas, interpreted by Yves Rechsteiner.
The new collection has, of course, the ‘Alpha touch’: fine presentation, digi-book format, scholarly texts, copiously illustrated with quality pictures.
Why the name of Ugab? Because the organ’s original ancestor appears (presumably) under that name in the Old Testament, back in the mists of time…The first wind instrument mentioned in the Bible is the ugab, or reed-pipe as some call it. The word 'ugab’ may also be found in English Bibles as "flute" or "organ." The reed-pipe, or simply pipe, probably is the most accurate term for the ugab. This name suggests a proper description of the instrument that was a long, narrow hollow stem, or reed, with holes to change the pitch to achieve a melody. Although the ugab was played as a spiritual instrument (Ps. 150:4), it was also known for awakening physical and emotional passions that were not desirable before the Lord.
(also available to download from $10.50)
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La Trompette Retrouvée
"La Trompette Retrouvée" is Freeman-Attwood's second
recording in his series with Linn Records and continues to explore his passion for expanding the limited chamber
repertoire for trumpet by imaginatively arranging chamber works previously scored for alternative forces.
“Apart from his nimble dexterity, Freeman-Attwood's playing is just as striking for the beauty of his lyrical phrasing and his richness of colour, so well demonstrated by Saint-Saëns's "Romanza", and in the wonderful freedom of his playing in the transcription of Fauré's Violin Sonata No. 2, which at times (and specially in the finale) almost convinces one that it was written for the trumpet...An uncommonly fine player with a lovely tone and vigorously sparkling articulation” Gramophone Magazine, June 2007
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Marc Minkowski's collection of 17 orchestral pieces from 11 of Rameau’s operas, compiled into a dramatic cycle that represents both the world of French Baroque dance music and the origins of French symphonic music.
“This live recording has a frisson about it and Les Musiciens du Louvre create a sound that blends and blooms in the Théâtre de Poissy. Minkowski has chosen music that contrasts well on many levels…” Gramophone Magazine, Awards Issue 2005
“What a splendid idea of Marc Minkowski's it was to create this 'imaginery' symphony, based on Rameau's theatre music. The result is a highly entertaining suite of dance movements, rather in the tradition of Beecham's Handel suites, but with somewhat more authentic orchestrations! What a distinctive and original composer Rameau was - highly recommended.” Penguin Guide, 2011 edition
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