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RM 1105
d'Anglebert, Marais, Dollé & Forqueray: Hommages

d'Anglebert, Marais, Dollé & Forqueray: Hommages

The Classical Shop
release date: June 2014

Recorded in 24 Bit / 88.2Khz
album available as a Studio File

Artists:

Glen Wilson

Performer

Mieneke van der Velden

Performer

Record Label
Ramée

Genre:

Baroque




Total Time - 77:54
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d'Anglebert, Marais, Dollé & Forqueray: Hommages

     
Select Complete Single Disc for
 

JEAN-HENRI D'ANGLEBERT

1 

Prélude en Do Majeur

1:03
 Glen Wilson Performer
     
 

MARIN MARAIS

 

Suite en Do Majeur

 
2 I. Prélude 2:06
3 II. Allemande. Double 2:25
4 III. Sarabande 3:24
5 IV. Menuet I & II 2:08
6 V. Chaconne 4:26
 Mieneke van der Velden Performer
 Glen Wilson Performer
     
 

CHARLES DOLLÉ

7 

Tombeau de Marais le Père

5:21
 Mieneke van der Velden Performer
 Glen Wilson Performer
     
 

JEAN-HENRI D'ANGLEBERT

8 

Prélude in G Major

3:00
 Glen Wilson Performer
     
 

ANTOINE FORQUERAY

 

Deuxième suite en Sol Majeur

 
9 I. La Dubreüil 4:36
10 II. La Leclair 3:27
11 III. La Buisson. Chaconne 5:25
 Mieneke van der Velden Performer
 Glen Wilson Performer
     
 

MARIN MARAIS

12 

Tombeau pour Mr. de Lully

9:04
 Mieneke van der Velden Performer
 Glen Wilson Performer
     
 

Suite en Mi Majeur

 
13 I. Prélude 2:32
14 II. Chaconne 4:54
15 III. Tombeau pour Mr. de Ste. Colombe 7:52
 Mieneke van der Velden Performer
 Glen Wilson Performer
     
 

ANONYMOUS

16 

Prélude en Sol Majeur (Pièces de Clavecin, 1689)

1:59
 Glen Wilson Performer
     
 

ANTOINE FORQUERAY

 

Cinquième suite en Do Mineur

 
17 I. La Rameau 5:46
18 II. La Léon. Sarabande 5:04
19 III. La Montigni 3:22
 Mieneke van der Velden Performer
 Glen Wilson Performer
     


Homage in music can express different things: gratitude towards a benefactor, a more personal greeting to a friend or acquaintance, recognition of a colleague’s talent, or a testament raised in memory of a teacher or other departed dear one. Paying homage to a late musician with a Tombeau was already an ancient tradition in the time of Marin Marais. Initially, tombeaux were instrumental transcriptions of middle-age and Renaissance vocal lamentations, and were developed around the middle of the 17th-century for the lute, then for the harpsichord by Louis Couperin and Jean-Henri d’Anglebert, and finally for the viola da gamba by Sainte-Colombe. The Tombeaux of Marin Marais are amongst the most original and expressive of those written for the viol, while the last examples of this tradition are the Tombeau pour Marais le Cadet, by Marin Marais (1725) and the Tombeau de Marais le Père, by Charles Dollé (1737). A programme full of worship, grandeur and sadness.

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