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专辑名称: Buxtehude: Sonatine à doi, Violine & Viola da Gamba, Op.1-2
创作艺人: [Les Timbres]
音乐流派: Classical|古典
专辑规格: 2碟14首
出品公司: Flora
发行时间: 2021/2/26
官方标价: ¥120.00 （会员免费下载）
域名语言: [it] （AI检测）
曲目介绍：
Trio Sonata in F Major, BuxWV 252: I. Vivace – II. Lento – III. Allegro – IV. Adagio – V. Andante – VI. Grave – VII. Presto (No. 1 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in G Major, BuxWV 253: I. Lento – Vivace – II. Adagio – III. Allegro – IV. Largo – V. Arioso – Variations Nos.1-5 (No. 2 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in A Minor, BuxWV 254: I. Adagio – II. Allegro – III. Lento – IV. Vivace – V. Largo – VI. Presto – VII. Adagio (No. 3 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in B-Flat Major, BuxWV 255: I. Vivace – Allegro – II. Lento – III. Allegro (No. 4 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in C Major, BuxWV 256: I. Vivace – II. (Vivace) – III. Allegro – IV. Largo – V. Allegro – VI. Adagio – Allegro (No. 5 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in D Minor, BuxWV 257: I. Grave – II. Allegro – III. Con discretione – IV. Allegro – V. Adagio – VI. Allegro – VII. Adagio – VIII. Allegro – IX. Adagio – Poco presto – X. Poco adagio – Presto – XI. Lento (No. 6 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in E Minor, BuxWV 258: I. Allegro – II. Largo – III. Presto – IV. Vivace – V. Adagio – VI. Poco presto – VII. Lento – VIII. Prestissimo (No. 7 from "Suonate a doi, violine e viola da gamba con cembalo, Opera prima, 1694")
Trio Sonata in B-Flat Major, BuxWV 259: I. Allegro – II. Adagio – III. Allegro – IV. Grave – V. Vivace – Lento – VI. Poco adagio – VII. Presto (No. 1 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
Trio Sonata in D Major, BuxWV 260: I. Adagio – II. Allegro – III. Largo – IV. Arietta – Parte Nos.1-9 – V. Largo – VI. Vivace (No. 2 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
Trio Sonata in G Minor, BuxWV 261: I. Vivace – II. Lento – III. Allegro – Lento – IV. Andante – V. Grave – VI. Gigue (No. 3 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
Trio Sonata in C Minor, BuxWV 262: I. Poco adagio – II. Allegro – III. Lento – IV. Allegro – V. Vivace (No. 4 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
Trio Sonata in A Major, BuxWV 263: I. Allegro – II. (Adagio) – III. Concitato – IV. Adagio – V. Allegro – Adagio – VI. Presto – VII. Poco presto (No. 5 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
Trio Sonata in E Major, BuxWV 264: I. Grave – II. Vivace – III. Adagio – IV. Poco presto – V. Lento – VI. Allegro (No. 6 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
Trio Sonata in F Major, BuxWV 265: I. Adagio – II. Allegro – III. Lento – IV. Vivace – V. Largo – VI. Allegro (No. 7 from "Suonate a doi, violine e viola da gamba con cembalo, Opera secunda, 1696")
详细介绍:
Buxtehude’s Opus 1 and Opus 2 Sonatas for violin, viola da gamba and harpsichord belie the composer’s common image as austere and sober. They instead delight the listener with what Johann Mattheson, writing in 1739, called their « unfamilar progressions, hidden ornamentation, and ingenious colourations ». It comes as no surprise to learn that the Sonatas were a great success when they were first published in Germany in the 1690s, in the midst of the fashion for the stylus fantasticus (described by Athanasius Kircher in 1650 as “…especially suited to instruments. It is the most free and unrestrained method of composing, it is bound to nothing, neither to any words nor to a melodic subject. It was instituted to display genius, and to teach the hidden design of harmony and the ingenious composition of harmonic phrases and fugues).
These Sonatas are undoubtedly challenging, which is no doubt why there have been so few complete recordings. For their fourth album, the founding trio of Les Timbres – Yoko Kawakubo, Myriam Rignol, and Julien Wolfs – take up the challenge with brio, joyously returning to their roots in Baroque chamber music to uncover all the intricacies of these very special works. © Flora
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