André Sennedat Vídeos
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Pierre Rue Annie Challan Roger Bourdin André Sennedat Serge Collot Darius Milhaud André Jolivet 1460 1492 1518
00:00 Requiem (Missa "Pro Defunctis"): Introitus - Kyrie - Psalmus - Offertorium - Sanctus - Agnus Dei - Communio 23:55 Missa "Dolores Gloriose Recolentes¨ (Missa de Septem Doloribus): Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei Polyphonic Ensemble of Paris - Charles Ravier, conductor Jocelyne Chamonin (soprano), Joseph Sage (counter-tenor) André Meurant (tenor), Georges Abdoun (bass) Annie Challan, Marielle Nordmann (small medieval harp) Roger Bourdin (flute, bass flute in C), Huguette Ehrmann (flute in G) Michel Sanvoisin (bass recorder), Émile Mayousse (English horn) André Sennedat (bassoon), Serge Collot (viola), Max Fouchet (trombone) We shall probably never know what Pierre de La Rue looked like. Very little has been discovered about him. He was born in Tournai in 1460, and the first written record of his name is in a document dated November 17, 1492. He was attached to the Burgundian Court for some years, and died on November 20, 1518. These are the basic facts that are known of his life. But the composer of the Missa pro defunctis and the Missa Dolores — recorded here was one of the most brilliant composers of the fifteenth century, one of those whose music reaches the hidden depths within us. Like his contemporary Josquin des Pres, Pierre de La Rue was a true representative of his time, when the Middle Ages, with their musical synthesis of several centuries of invention, anguish, and aspiration, were drawing to a close in the Western world, and when the vital force that had sprung up from the ruins of the Roman Empire began to lose impetus and eventually to make way for the Renaissance. De La Rue’s known works comprise songs, motets, and 36 Masses. In these latter, de La Rue often constructs his polyphony around a ‘cantus firmus’ taken from plainchant or popular song. This melodic theme, usually presented in long note values, reappears at intervals throughout the work and acts as a kind of pivot. The Dolores Mass is an example of this. Its “cantus firmus” quotes a sequence devoted to St. Mary of the Seven Sorrows. The Requiem Missa pro defunctis reveals the qualities that distinguish Pierre de La Rue from other musicians of his time: they are the qualities of a poet in somber tones, served by a subtle architect. His calm yet intense expression answers to the anxiety inherent in life itself. In what way was the interpretation of musical polyphony organized at that time? There are few written documents to help us here. Many pictorial representations of musical performance show groups of singers together with instrumentalists of all kinds; there are prescriptions for polyphony to be played on “all the instruments you like’; and we know that at all the courts, and the Burgundian court in particular, there were large numbers of instrumentalists among the musicians. All these facts and many more prove that one of the important facets of the musical taste of the time was the interest in instrumental sonorities, either alone or mingled with voices. However, we know hardly anything about how the instruments were used. Their distribution depended on local supply and on the development of practices and customs that are unknown today. For the present version, taking account of these historical data, we have gone to the original musical text in its varying aspects. We have tried to realize the marvelous complexity of this polyphony, of which the least that can be said is that it is the work of a master of his art, and one of the great masters of Art. From the French of Charles Ravier BIBLIOGRAPHY The most convenient English-language source for Pierre de la Rue is Music in the Renaissance by Gustave Reese. A valuable section of this book is devoted to the composer (indexed under L), with specific discussion of the Requiem and several other works. THE ARTISTS Charles Ravier is himself a Burgundian. He made his debut as a violist, but an increasing preoccupation with medieval and Renaissance music led him to form his own group, the Polyphonic Ensemble of Paris. With it he has performed at festivals throughout France — the concert performance of the de La Rue Requiem recorded here was given at the Festival of Mont Saint-Michel— and his work has been rewarded by prizes from the Académie Charles Cros and the Académie du Disque Francais. Ravier is also keenly interested in contemporary music: Darius Milhaud and André Jolivet have composed works specially for the Polyphonic Ensemble of Paris.
Beethoven Daniel Barenboim Michel Debost André Sennedat 1786 1980
Trio for Piano, Flute and Bassoon in G, WoO 37. Composed by Beethoven in 1786. Piano: Daniel Barenboim Flute: Michel Debost Bassoon: André Sennedat Year of recording:1980 The Trio is in three movements: 0:00 Allegro 11:07 Adagio 17:07 Tema andante con variazioni
Beethoven Daniel Barenboim Michel Debost André Sennedat 1786 1980
Trio for Piano, Flute, and Bassoon in G, WoO 37. Composed by Beethoven in 1786. Sheet Music: (http•••) Piano: Daniel Barenboim Flute: Michel Debost Bassoon: André Sennedat Year of recording:1980 The Trio is in three movements: 0:00 Allegro 11:07 Adagio 17:07 Tema andante con variazioni
Michel Richard Delalande Jean Joseph Mouret Rondeau Selig Scherbaum Maurice Bourgue André Sennedat 1657 1682 1697 1698 1713 1720 1726 1738
MICHEL-RICHARD DELALANDE +••.••(...)) 00:00 Simphonies pours les Soupers du Roy (Quatrième Suite): Simphonie du Te Deum - 2e Air du "Concert de Trompettes pour les Festes sur le Canal de Versailles" - 1er Air pour Concert de Trompettes / 3e Air pour les mêmes - 1er Menuet pour les Trompettes, 2e Menuet - Fanfare: Air en écho - Air grave de "L'amour fléchy par la Constance" (1697) - Sarabande - Légèrement - "Chantons ce Héros" Gayement - Sarabande de "Cardenio" / Doucement "Quitte icy tes ailes" (Soprano) - Air gay "Ballet de Mélicerte" à Fontainebleau au Mariage de M. de Lorraine (1698) - Musette du "Ballet de L'lnconnue" - Air gay - Rondeau du "Ballet des Cléments" (1720) - Rondeau du "Ballet de Cardenio" - Doucement et Pesamment - "La Pagode" Doucement et Pesamment - 7e Air du "Ballet de la Paix" (1713) - Chaconne en écho avec les Trompettes JEAN-JOSEPH MOURET +••.••(...)) 27:10 Fanfares (Première Suite): [Without Tempo Indication] - Gracieusement, sans lenteur - Allegro - Gay 34:40 Simphonies (Seconde Suite): Air ou Prélude - Allegro - Gracieusement - Première Gavotte, Deuxième Gavotte - Fanfare: Air - Premier Menuet, Second Menuet - Allegro Orchestre de Chambre Paul Kuentz - Paul Kuentz, conductor Soprano Vocals – Edith Selig Trumpet – Adolf Scherbaum Horn – Georges Barboteu, Jacky Magnardi Oboe – Emile Mayousse, Maurice Bourgue Bassoon – André Sennedat Timpani [Kettle Drums] – Jacques Remy Harpsichord – Huguette Gremy, Olivier Alain
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