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In 1707 Joseph Marchand published his seven Suites de pièces mêlée[s] de sonates pour le violon et la basse. Now completely forgotten, Marchand was one of the king's musicians under Louis XIV, playing the basse de violon in the prestigious Chapelle Royale, the 24 Violons and the Petits Violons du Roi. He was renowned as a teacher, and as a musician he was gifted with a "very singular playing style". His suites were the first in the repertoire to make use of the perilous double trill. In some respects, his music bears witness to the Italianisation of musical tastes, but in the sheer abundance of his musical ideas, the beauty of his harmonies, his virtuosity, particularly in the bass parts, and his concern for the balance of forms and voices, Marchand is not so much an epigone as an heir to the art of Marin Marais, Sainte-Colombe or François Couperin. Playing the violin, the pardessus de viole (the highest-pitched member of the viol family), the positive organ, the viola da gamba or the harpsichord, the {oh!} trio - Martyna Pastuszka and Krzysztof and Anna Firlus - revive here a gem of the early eighteenth century, with all it's poetry and refinement of expression.
In 1707 Joseph Marchand published his seven Suites de pièces mêlée[s] de sonates pour le violon et la basse. Now completely forgotten, Marchand was one of the king's musicians under Louis XIV, playing the basse de violon in the prestigious Chapelle Royale, the 24 Violons and the Petits Violons du Roi. He was renowned as a teacher, and as a musician he was gifted with a "very singular playing style". His suites were the first in the repertoire to make use of the perilous double trill. In some respects, his music bears witness to the Italianisation of musical tastes, but in the sheer abundance of his musical ideas, the beauty of his harmonies, his virtuosity, particularly in the bass parts, and his concern for the balance of forms and voices, Marchand is not so much an epigone as an heir to the art of Marin Marais, Sainte-Colombe or François Couperin. Playing the violin, the pardessus de viole (the highest-pitched member of the viol family), the positive organ, the viola da gamba or the harpsichord, the {oh!} trio - Martyna Pastuszka and Krzysztof and Anna Firlus - revive here a gem of the early eighteenth century, with all it's poetry and refinement of expression.
5051083190152

Details

Format: CD
Label: APARTE
Rel. Date: 03/17/2023
UPC: 5051083190152

Marchand: Suites
Artist: Oh! Trio
Format: CD
New: Not in stock
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Formats and Editions

DISC: 1

1. Vol.1-Marchand: Première Suite in a Fantaisie
2. Marchand: Première Suite in a Sonate I Lentement
3. Marchand: Première Suite in a Vite
4. Marchand: Première Suite in a Rondeau Tendrement
5. Marchand: Première Suite in a Vite
6. Marchand: Première Suite in a Air Grave
7. Marchand: Première Suite in a Gavotte Tendrement
8. Marchand: Première Suite in a Air Gay
9. Marchand: Deuxième Suite in B Sonate Lentement
10. Marchand: Deuxième Suite in B Vite. Lentement
11. Marchand: Deuxième Suite in B Rondeau Gay
12. Marchand: Deuxième Suite in B Vite
13. Marchand: Deuxième Suite in B Air Louré
14. Marchand: Deuxième Suite in B Air Gay
15. Marchand: Deuxième Suite in B Dessein de Basse
16. Marchand: Troisième Suite in C Allemande
17. Marchand: Troisième Suite in C Sarabande
18. Marchand: Troisième Suite in C Rondeau
19. Marchand: Troisième Suite in C Air Lent
20. Marchand: Troisième Suite in C Première Et Deuxième Gavottes
21. Vo.2-Marchand: Quatrième Suite in D Sonate
22. Marchand: Quatrième Suite in D Fugue
23. Marchand: Quatrième Suite in D Adagio
24. Marchand: Quatrième Suite in D Air Tendre
25. Marchand: Quatrième Suite in D Air Gay
26. Marchand: Quatrième Suite in D Air Par Accords Lentement
27. Marchand: Quatrième Suite in D Air Vite
28. Marchand: Cinquième Suite in E Sonate
29. Marchand: Cinquième Suite in E Fugue
30. Marchand: Cinquième Suite in E Air I
31. Marchand: Cinquième Suite in E Air II
32. Marchand: Cinquième Suite in E Gigue
33. Marchand: Cinquième Suite in E Air Tendre
34. Marchand: Cinquième Suite in E Air Gay
35. Marchand: Cinquième Suite in E Air Vite
36. Vol.3-Marchand: Sixième Suite in F Sonate
37. Marchand: Sixième Suite in F Fugue
38. Marchand: Sixième Suite in F Air I
39. Marchand: Sixième Suite in F Air II
40. Marchand: Sixième Suite in F Vivement
41. Marchand: Sixième Suite in F Allemande
42. Marchand: Sixième Suite in F Prélude Ou Dessein de Basse
43. Marchand: Sixième Suite in F Chaconne
44. Marchand: Sixième Suite in F Sicilienne
45. Marchand: Septième Suite in G Sonate
46. Marchand: Septième Suite in G Air Tendre
47. Marchand: Septième Suite in G Rondeau
48. Marchand: Septième Suite in G Allemande
49. Marchand: Septième Suite in G Air Grave
50. Marchand: Septième Suite in G Rondeau Et Double
51. Marchand: Septième Suite in G Air Tendre Lentement
52. Marchand: Septième Suite in G Chaconne

More Info:

In 1707 Joseph Marchand published his seven Suites de pièces mêlée[s] de sonates pour le violon et la basse. Now completely forgotten, Marchand was one of the king's musicians under Louis XIV, playing the basse de violon in the prestigious Chapelle Royale, the 24 Violons and the Petits Violons du Roi. He was renowned as a teacher, and as a musician he was gifted with a "very singular playing style". His suites were the first in the repertoire to make use of the perilous double trill. In some respects, his music bears witness to the Italianisation of musical tastes, but in the sheer abundance of his musical ideas, the beauty of his harmonies, his virtuosity, particularly in the bass parts, and his concern for the balance of forms and voices, Marchand is not so much an epigone as an heir to the art of Marin Marais, Sainte-Colombe or François Couperin. Playing the violin, the pardessus de viole (the highest-pitched member of the viol family), the positive organ, the viola da gamba or the harpsichord, the {oh!} trio - Martyna Pastuszka and Krzysztof and Anna Firlus - revive here a gem of the early eighteenth century, with all it's poetry and refinement of expression.
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