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Pieces de Clavecin en Concerts Five suites arranged for two keyboards by Janine Johnson. This is Rameau's only instrumental chamber work, originally scored for violin or flute, viola da gamba or second violin, and obligato harpsichord. View sample pages from the first part and second part. Download and print a PDF file. Denis Diderot 'Rameau's Nephew'. Jean- Philippe Rameau. Jean- Philippe Rameau (September 2. Dijon – September 1. French composers and music theorists of the Baroque era. He replaced Jean- Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Fran. Disclaimer: The Mutopia Project is run by volunteers, and the material within it is provided 'as-is'. NO WARRANTY of any kind is made, including fitness for any particular purpose. No claim is made as to the accuracy or the factual, editorial or musical correctness of any of the material provided here.

Le Jardin De Monsieur Rameau (2014)
FLAC (tracks) 24 bit/96 kHz 1 CD Digital Booklet 1.53 GB
Genre: Classical Official Digital Download – Source: Qobuz

In this new album, William Christie invites us to a wander in the vocal art of the 18th Century, at the time of Rameau and his contemporaries. These musical treasures, as with the famous gardens ‘à la française’, are closely linked to these times of splendour. The soloists come from the Jardin des Voix, the Arts Florissants’ Academy for young singers in which the most promising talents of the upcoming generation had the priviledge to work with the ensemble, before starting a worldwide tour of the most prestigious venues. This recording crowns their work.

Composer: Michel Monteclair, Antoine Dauvergne, Jean-Philippe Rameau, Nicolas Racot de Grandval, …
Performer: Emilie [Mezzo-Soprano (Vocal)] Renard, Daniela [Soprano (Vocal)] Skorka, Victor [Baritone (Vocal)] Sicard, Cyril [Bass (Vocal)] Costanzo, …
Conductor: William Christie

Reviews: “The results of this summer course are impressive. Monteclair’s prologue to Jephthe is an arresting opener with Les Arts Florissants in characteristically stylish form. Daniela Skorka is geuninely affecting in Dauvergne’s Hercule mourant…There is much to savour, not least the youthful enthusiasm of the singers.”

Tracklisting:
1. Jepthé: Prologue. Ouverture by Michel Monteclair
Conductor: William Christie
Period: Baroque
Written: 1732
Venue: Salle Colonne, Paris
Length: 1 Minutes 52 Secs.
2. Jepthé: Prologue. Rigaudon / Air & Choeur. Scene 2. Riez sans cesse / Menuet / Scene 2. Air & Choeur by Michel Monteclair
Performer: Emilie [Mezzo-Soprano (Vocal)] Renard (), Daniela [Soprano (Vocal)] Skorka (), Victor [Baritone (Vocal)] Sicard (),
Cyril [Bass (Vocal)] Costanzo (), Zachary Wilder ()
Conductor: William Christie
Period: Baroque
Written: 1732
Venue: Salle Colonne, Paris
Length: 3 Minutes 21 Secs.
3. Jepthé: Prologue. Symphonie / Scene 2. Air & Choeur. De quels vouveaux concerts by Michel Monteclair
Performer: Daniela [Soprano (Vocal)] Skorka (), Emilie [Mezzo-Soprano (Vocal)] Renard (), Cyril [Bass (Vocal)] Costanzo (),
Victor [Baritone (Vocal)] Sicard (), Zachary Wilder ()
Conductor: William Christie
Period: Baroque
Written: 1732
Venue: Salle Colonne, Paris
Length: 1 Minutes 44 Secs.
4. Hercule mourant: Act 2. Scene 1. Air. Quelle voix suspend mes alarmes? by Antoine Dauvergne
Performer: Daniela [Soprano (Vocal)] Skorka ()
Conductor: William Christie
Period: Classical
Written: 1761
Venue: Salle Colonne, Paris
Length: 4 Minutes 1 Secs.
5. Hippolyte & Aricie: Act 5. Scene 3. Air. Quels doux concerts! by Jean-Philippe Rameau
Conductor: William Christie
Period: Baroque
Written: 1733; France
Venue: Salle Colonne, Paris
Length: 4 Minutes 21 Secs.
6. Rien du tout, for soprano, orchestra & continuo by Nicolas Racot de Grandval
Performer: Emilie [Mezzo-Soprano (Vocal)] Renard ()
Conductor: William Christie
Written: 1755
Venue: Salle Colonne, Paris
Length: 9 Minutes 15 Secs.
7. La Vénitienne: Prélude / Act 2. Scene 1. Air. Pour braver les périls by Antoine Dauvergne
Performer: Cyril [Bass (Vocal)] Costanzo ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 1 Minutes 2 Secs.
8. La Vénitienne: Act 2. Scene 2. Air. Ciel, il me laisse by Antoine Dauvergne
Performer: Cyril [Bass (Vocal)] Costanzo ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 3 Minutes 6 Secs.
9. La Vénitienne: Act 2. Scene 2. Air. Livrons-nous au sommeil by Antoine Dauvergne
Performer: Cyril [Bass (Vocal)] Costanzo ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 3 Minutes 5 Secs.
10. L’Ivrogne corrigé: Act 1. Scene 2. Terzetto. Maudit ivrogne by Christoph W. Gluck
Performer: Daniela [Soprano (Vocal)] Skorka (), Zachary Wilder (), Cyril [Bass (Vocal)] Costanzo ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 1 Minutes 39 Secs.
11. L’Ivrogne corrigé: Act 2. Scene 1. Choeur. Il est mort by Christoph W. Gluck
Performer: Victor [Baritone (Vocal)] Sicard (), Cyril [Bass (Vocal)] Costanzo (), Daniela [Soprano (Vocal)] Skorka (),
Emilie [Mezzo-Soprano (Vocal)] Renard (), Zachary Wilder ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 2 Minutes 17 Secs.
12. Ah! loin de rire, canon by Jean-Philippe Rameau
Performer: Cyril [Bass (Vocal)] Costanzo (), Victor [Baritone (Vocal)] Sicard (), Zachary Wilder (),
Daniela [Soprano (Vocal)] Skorka (), Emilie [Mezzo-Soprano (Vocal)] Renard ()
Conductor: William Christie
Period: Baroque
Written: circa 1722
Venue: Salle Colonne, Paris
Length: 1 Minutes 21 Secs.
13. L’Ivrogne corrigé: Act 2. Scene 5. Terzetto. Rendez mon époux à la vie by Christoph W. Gluck
Performer: Zachary Wilder (), Daniela [Soprano (Vocal)] Skorka ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 2 Minutes 9 Secs.
14. Reveillez-vous, dormeur sans fin, canon for 5 voices by Jean-Philippe Rameau
Performer: Daniela [Soprano (Vocal)] Skorka (), Zachary Wilder (), Cyril [Bass (Vocal)] Costanzo (),
Emilie [Mezzo-Soprano (Vocal)] Renard (), Victor [Baritone (Vocal)] Sicard ()
Conductor: William Christie
Period: Baroque
Venue: Salle Colonne, Paris
Length: 0 Minutes 34 Secs.
15. L’Ivrogne corrigé: Act 2. Scene 5. Quatuor. Que de plaisirs l’Amour nous donne by Christoph W. Gluck
Performer: Daniela [Soprano (Vocal)] Skorka (), Emilie [Mezzo-Soprano (Vocal)] Renard (), Victor [Baritone (Vocal)] Sicard (),
Cyril [Bass (Vocal)] Costanzo (), Zachary Wilder ()
Conductor: William Christie
Period: Classical
Venue: Salle Colonne, Paris
Length: 1 Minutes 31 Secs.
16. Les Fêtes d’Hébé: Première entrée: La Poésie. Scene 5. Air & Choeur. Revenez, tendre amant by Jean-Philippe Rameau
Performer: Cyril [Bass (Vocal)] Costanzo ()
Conductor: William Christie
Period: Baroque
Written: 1739
Venue: Salle Colonne, Paris
Length: 1 Minutes 51 Secs.
17. Les Fêtes d’Hébé: Première entrée: La Poésie. Scene 5. Duo. Je vous revois / Scene 2. Air. Sans cess by Jean-Philippe Rameau
Performer: Daniela [Soprano (Vocal)] Skorka (), Zachary Wilder ()
Conductor: William Christie
Period: Baroque
Written: 1739
Venue: Salle Colonne, Paris
Length: 2 Minutes 32 Secs.
18. Les Fêtes d’Hébé: Première entrée: La Poésie. Scene 8. Ariette. Fuis, porte ailleurs tes fureurs by Jean-Philippe Rameau
Performer: Daniela [Soprano (Vocal)] Skorka ()
Conductor: William Christie
Period: Baroque
Written: 1739
Venue: Salle Colonne, Paris
Length: 3 Minutes 57 Secs.
19. Dardamus: Act 4. Scene 4. Ariette. Hâtons-nous, courons à la gloire by Jean-Philippe Rameau
Performer: Zachary Wilder ()
Conductor: William Christie
Period: Baroque
Written: 1739; France
Venue: Salle Colonne, Paris
Length: 2 Minutes 18 Secs.
20. Dardamus: Act 4. Prélude / Scenes 4-5. Récit. Voici les tristes lieux / Scene 3. Air. Monstre affreu by Jean-Philippe Rameau
Performer: Victor [Baritone (Vocal)] Sicard ()
Conductor: William Christie
Period: Baroque
Written: 1739; France
Venue: Salle Colonne, Paris
Length: 4 Minutes 9 Secs.
21. Dardamus: Act 5. Scene 3. Air. Mais un nouvel éclat by Jean-Philippe Rameau
Performer: Victor [Baritone (Vocal)] Sicard ()
Conductor: William Christie
Period: Baroque
Written: 1739; France
Venue: Salle Colonne, Paris
Length: 2 Minutes 13 Secs.
22. Dardamus: Act . Scene 3. Duo. Des biens que Vénus nous dispense by Jean-Philippe Rameau
Performer: Zachary Wilder ()
Conductor: William Christie
Period: Baroque
Written: 1739; France
Venue: Salle Colonne, Paris
Length: 2 Minutes 21 Secs.
23. Les Indes galantes: Troisième entrée: Les Fleurs. Scene 7. Quatuor. Tendre Amour by Jean-Philippe Rameau
Performer: Emilie [Mezzo-Soprano (Vocal)] Renard (), Cyril [Bass (Vocal)] Costanzo (), Zachary Wilder (),
Daniela [Soprano (Vocal)] Skorka ()
Conductor: William Christie
Period: Baroque
Written: 1735
Venue: Salle Colonne, Paris
Length: 2 Minutes 49 Secs.
24. L’Europe alante: Deuxieème entrée: La France. Air instrumental / Scene 1. Air. Quoi! Pour l’objet de by André Campra
Performer: Victor [Baritone (Vocal)] Sicard (), Zachary Wilder ()
Conductor: William Christie
Period: Baroque
Written: 1697; Italy
Venue: Salle Colonne, Paris
Length: 4 Minutes 5 Secs.
25. L’Europe alante: Deuxieème entrée: La France. Scene 2. Paisibles lieux by André Campra
Performer: Emilie [Mezzo-Soprano (Vocal)] Renard ()
Conductor: William Christie
Period: Baroque
Written: 1697; Italy
Venue: Salle Colonne, Paris
Length: 2 Minutes 54 Secs.
26. L’Europe alante: Deuxieème entrée: La France. Scene 3. Récit. Que vois-je, quel spectacle! / Choeur. by André Campra
Performer: Cyril [Bass (Vocal)] Costanzo (), Emilie [Mezzo-Soprano (Vocal)] Renard (), Victor [Baritone (Vocal)] Sicard (),
Zachary Wilder (), Daniela [Soprano (Vocal)] Skorka ()
Conductor: William Christie
Period: Baroque
Written: 1697; Italy
Venue: Salle Colonne, Paris
Length: 2 Minutes 35 Secs.
27. L’Europe alante: Deuxieème entrée: La France. Scene 4. Air. Voyez à vos genoux / Air. Lorsque Doris by André Campra
Performer: Victor [Baritone (Vocal)] Sicard (), Emilie [Mezzo-Soprano (Vocal)] Renard ()
Conductor: William Christie
Period: Baroque
Written: 1697; Italy
Venue: Salle Colonne, Paris
Length: 4 Minutes 21 Secs.
28. L’Europe alante: Deuxieème entrée: La France. Scene 5. Air. Quel funeste coup by André Campra
Conductor: William Christie
Period: Baroque
Written: 1697; Italy
Venue: Salle Colonne, Paris
Length: 3 Minutes 27 Secs.

Download:

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5-07-2019, 09:55
Classical Music FLAC / APE CD-Rip

Artist: Sophie Yates
Title: Handel: Harpsichord Works, Vol.2
Year Of Release: 2001
Label: Chandos
Genre: Classical
Quality: FLAC (tracks+.cue,log,scans)
Total Time: 72:51
Total Size: 477 Mb
WebSite: Album Preview

Tracklist:
[01-04] Suite No. 1 in A major, HWV 426 (11:30)
[05-08] Suite No. 2 in F major, HWV 427 (9:07)
[09-14] Suite No. 3 in D minor, HWV 428 (23:08)

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[15-19] Suite No. 4 in E minor, HWV 429 (14:29)
[20-23] Suite No. 5 in E major, HWV 430 (14:32)
Performers:
Sophie Yates, harpsichord

One of the world's preeminent harpsichordists, Sophie Yates is known for her critically acclaimed performances of Baroque music. Universally praised for her profound understanding of Baroque style, Yates is also admired for her refined touch and discreet virtuosity. Indeed, critics have often lauded Yates for subordinating her enormous virtuosity to stylistic and aesthetic concerns. As a specialist in French Baroque music, Yates masterfully captures the elusive style of French Baroque keyboard performance, perfectly conjuring up the enigmatic atmosphere of distant intimacy heard in pieces by Couperin and Rameau. Commenting on her album French Baroque Harpsichord, critic Robert Haskins admired Yates' subtle renditions of Couperin's music. 'In her readings of Les Idées heureuses, she savors the melodic quality of the ornamentation and the stately but fluid rhythms to marvelous effect.' From the vantage point of the French Baroque, Yates has also explored Italian, German, and Iberian repertoires, bringing to light many forgotten harpsichord pieces. Her exploration of Spanish and Portuguese music has been particularly successful, yielding the album Spanish and Portuguese Harpsichord, in which, as Haskins observed, she 'combines her ability to project a profound inner intensity with scintillant technique.' Yates studied harpsichord at the Royal College of Music in London. Her career was launched when she won the International Erwin Bodky Competition at the Boston Early Music Festival. Invited to tour the eastern United States, Yates subsequently received offers from other parts of the world. In fact, Yates could be described as a true globetrotting harpsichordist, having played in Syria, Morocco, Australia, and Japan. With her home base in London, she regularly tours Europe. A teacher at the Royal College of Music, Yates is also a virginals specialist, searching for old instruments and exploring the repertoire. Her highly praised albums, released by Chandos, include Rameau: Pièces de clavecin, Romanesca: Italian Music for the Harpsichord, and Fandango: Scarlatti in Iberia. In 1999, Yates released her first album devoted to Handel's harpsichord music. In the liner notes for her second Handel album, Yates remarked that Handel's harpsichord pieces not only exhibit such typicially Handelian features as rhythmic vitality and melodic inventiveness, but also 'give us a fascinating insight into the composer's more private world.'

DOWNLOAD FROM ISRA.CLOUD
Handel Harpsichord Works 2 Sophie Yates 01 0507.rar - 477.4 MB

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