Hamel / Quasar / Arte / Gregoire - Trilogie Du Presto - COMPACT DISCS [CD]

The only available complete recording; newly made by a stylish Italian early-music ensemble; of a landmark collection of Baroque chamber music. Antonio Veracini (1659-1733) was the uncle and teacher of his more famous nephew; the composer and violinist Francesco Maria Veracini (1690-1768); and one of the most important violin sonata composers of the generation that included Corelli and Torelli. His innovative music forms the bridge between the styles of Vitali; Bononcini and Stradella on the one hand; and the post-Baroque fashions of his nephew and of Tartini and Locatelli on the other. Even while working outside the patronage of the Medici family; Veracini played a central role in the civic musical life of Florence during the later 17th and early 18th centuries. Trained from childhood as a violinist; he wrote mostly with his own instrument in mind; and doubtless with a view to impressing noble audiences with his skill and virtuosic style. He must have succeeded; because he also became an owner of many superb violins and a dealer in their trade. Veracini's Opus 1 collection was published in 1692 and dedicated to his patroness; the Grand Duchess Vittoria. It consists of ten 'church sonatas' of the newer sort exemplified by Vitali's op.9 collection published two years later; though Veracini's style is also comparable with Corelli's church sonatas published during the 1680s. Most of the sonatas have two extended quick movements; each preceded by a slower and gravely expressive introduction. Dance rhythms infuse the finales with momentum; and Veracini is fond of trumpet-like fanfares and echo effects. These ten sonatas made a tremendous impression on Veracini's fellow composers at the time; and it is a wonder that they have only been recorded in selected form until now. The complete collection abounds in high-spirited diversity; especially in these recordings made by an e

François Couperin (1689-1755) 'Couperin le Grand' was a master of the Baroque era, and this offers us a fresh recording his chef-d'oeuvres the harpsichord trios. Couperin was born into a musical family. He followed in his father's footsteps as organist at the Saint-Gervais Church in Paris, and before long his musical talent led him to the court of King Louis XIV. His appointment as court musician introduced him to a network of composers, with whom he regularly corresponded and shared ideas. Johann Sebastian Bach, for example, greatly admired his volumes of harpsichord music. L'Apothéose de Lully and L'Apothéose de Corelli open this set and are among the earliest examples of programme music. The former is dedicated to Jean-Baptiste Lully (1632-1687) who had defined the sound of French Baroque music, while L'Apothéose de Corelli pays homage to the Italian virtuoso, Antonio Corelli (1653-1713). The pieces depict the esteemed composers reaching the summit of Mount Parnassus. Then, guided by the God Apollo, they merge the French and Italian styles. Relations between Italy and France had soured following the Spanish War of Succession and the scramble to claim new territory, but Couperin's piece favors integration over individualism, as each composer's style compliments the other, raising the music to divine greatness. Les Nations follows in this vein, as it draws influence from both styles, featuring Corelli-inspired forms with alternating slow and quick tempos as opposed to the French-style suites of dances. It was dedicated to France, Spain, the German Empire and to Piedmont, part of the newly reformed Kingdom of Sardinia. In the wider context, Couperin's music is tinged with political ideology as he paints a picture of harmony flourishing from European unity. Couperin's pioneering music has inspired composers for generations; a century after his death, Johannes Brahms

Album Tracks 1. I. Adagio - Presto - Grave 2. II. Allegro 3. III. Adagio 4. IV. Allegro 5. I. Grave 6. II. Allegro 7. III. Largo E Staccato 8. IV. Allegro 9. I. Grave 10. II. Allegro 11. III. Grave 12. IV. Allegro 13. V. Allegro 14. I. Grave 15. II. Allegro 16. III. Largo 17. IV. Allegro 18. I. Grave 19. II. Presto 20. III. Largo 21. IV. Allegro 22. I. Adagio 23. II. Allegro 24. III. Grave 25. IV. Presto 1. I. Adagio 2. II. Presto 3. III. Grave 4. IV. Presto 5. I. Grave 6. II. Allegro 7. III. Grave 8. IV. Presto 9. I. Grave 10. II. Allegro 11. III. Grave 12. IV. Allegro 13. I. Adagio - Presto - Adagio 14. II. Allegro 15. III. Grave 16. IV. Allegro 17. I. Grave 18. II. Allegro 19. III. Largo E Piano 20. IV. Presto 21. I. Adagio - Allegro - Adagio 22. II. Allegro 23. III. Adagio - (Vivace - Adagio) 24. IV. Allegro