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Antheil
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« on: 11:22:01, 24-08-2008 » |
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I am not much interested in today's Bach Fest Prom but looking forward to tomorrow, Lambert, Marais, Monteclair and Couperin, the early Prom.
All of whom I know nothing. I am from Barcelona! Only kidding, Bridgend.
Should I learn something (and from where) before I tune in? I do recall hearing some Couperin on Late Junction.
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Philidor
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« Reply #1 on: 11:42:26, 24-08-2008 » |
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Just be prepared to be shocked if you've not heard much pure French baroque stuff. You were probably brought up on it, in which case you don't need to prepare. But those used to the German and Italian schools - Bach, Vivaldi etc - may find their jaws dropping when first exposed to hard line Frog baroque (as this concert is). It almost has a postmodern, 'pastiche' feel to it, with little chirrups of sound, drooping ornamentation, and sudden displays of refined Latin drama. It’s highly decadent music - typical of a country about cut its ruling class’ heads off - but utterly wonderful.
According their website they’re also playing some Leclair - perhaps the most under-rated baroque composer, who fused more than anyone the German, Italian and French styles. Fantastic. I hope to be there too.
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Antheil
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« Reply #2 on: 11:52:18, 24-08-2008 » |
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Cheers Phili, hard-line Frog baroque and drama and decadence, sounds wonderful! I love hearing something totally new. Leclair also I do not know. But Lambert was Australian, not French I think.
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Philidor
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« Reply #3 on: 12:06:10, 24-08-2008 » |
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But Lambert was Australian, not French I think.
It would be great if they inserted an Aussie into the programme, but I suspect they mean this high baroque fellow: Michel Lambert (1610 - 1696) French composer. Sang as a boy at Champigny; served Gaston d'Orléans as a page in Paris, and Gaston's daughter as singer and member of' her "six violons" until at least 1652. Danced and sang in ballets at court during the 1650s; served as Maître de la musique de la chambre du Roy, from 1661 until his death and had a substantial reputation as a singing teacher. Hundreds of his airs are extant, as is some stage music produced in collaboration with Lully, along with a set of leçons de ténèbres from 1689, though most of his collections of airs printed under royal privilege are lost. SourceThere's not even an English language Wiki entry on him, such is the current obsession with German/Italian baroque. When a pure French programme emerges it's a rare treat. I hope the singer's suitably ravishing, exotic and coquettish. |
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Antheil
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« Reply #4 on: 12:15:46, 24-08-2008 » |
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<Doh! emoticom> !! Wrong Lambert  I hope, as you will be there, you will post a review Phili? You really have whetted my appetite for this, many thanks. |
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Philidor
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« Reply #5 on: 12:27:51, 24-08-2008 » |
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I don't mean to be patronising, but it's an easy mistake to make. How many people in Britain have even heard a Montéclair solo cantata or a Leclair violin sonata? 1000? 1500? There's not even a decent urtext edition of the Leclair flute sonatas which, next the Bach set, are the most important baroque sonatas for the instrument. Much French baroque music sits languishing in library archives, while endless Vivaldi is regurgitated by spotty Kennedy... I hope, as you will be there, you will post a review Let's write one together!  Here's Monday's trillster. She'll do.  |
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Antheil
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« Reply #6 on: 12:35:50, 24-08-2008 » |
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Phili,
You are obviously somewhat of an expert in French Baroque, I know little so I am always open to being educated.
I wonder how many Members here are knowledgeable about it? This could possibly turn into a very interesting thread but I guess we will have to hear the Prom first?
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Philidor
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« Reply #7 on: 12:49:16, 24-08-2008 » |
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Phili,
You are obviously somewhat of an expert in French Baroque I wish I was. But I love it, and several times have got to concerts or listened to recordings with people new to it and they always have the same reaction: 1. This is extraordinary! 2. Why isn't it played more? 3. God protect me from MORE Vivaldi! I wonder how many Members here are knowledgeable about it? Quite a few I suspect. Hopefully they'll come out of the woodwork. |
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martle
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« Reply #8 on: 16:10:23, 24-08-2008 » |
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We've certainly got our fair share of Baroque nutters around here, you two. I'm sure they'll be along in due course.
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Green. Always green.
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Antheil
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« Reply #9 on: 17:00:48, 24-08-2008 » |
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We've certainly got our fair share of Baroque nutters around here, you two. I'm sure they'll be along in due course.
Penny knew enough Welsh to tell us that mynydd = mountain and cym = valley, and that the word “cym” was pronounced like our “kum.” I'll bet the Welsh would be cracking at a game like Wheel of Fortune; they'd never have to waste their money buying a vowel to figure out a phrase. Baroque nutters Martle? |
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Bryn
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« Reply #10 on: 17:05:43, 24-08-2008 » |
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We've certainly got our fair share of Baroque nutters around here, you two. I'm sure they'll be along in due course.
Penny knew enough Welsh to tell us that mynydd = mountain and cym = valley, and that the word “cym” was pronounced like our “kum.” I'll bet the Welsh would be cracking at a game like Wheel of Fortune; they'd never have to waste their money buying a vowel to figure out a phrase. Baroque nutters Martle? Oh kum now, Anty, "cwm" is pronounced "cwm". There is no easily expressed saesneg equivalent, surely, Shirley? |
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« Last Edit: 17:09:33, 24-08-2008 by Bryn »
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richard barrett
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« Reply #11 on: 17:09:04, 24-08-2008 » |
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My name is Richard and I am a baroque nutter.
I'm not really too sure about this programme. The only pieces in it I know are the instrumental items by Marais (not at his most inspired in this one IMO) and Couperin (highly charming as ever), and the cantata by Rameau, which isn't really as compelling as the music in his operas. The other two pieces are surely worth hearing, but as far as I can see the programme lacks a centre of gravity in the form of a more substantial work. I may be wrong about that.
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Antheil
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« Reply #12 on: 17:23:09, 24-08-2008 » |
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We've certainly got our fair share of Baroque nutters around here, you two. I'm sure they'll be along in due course.
Penny knew enough Welsh to tell us that mynydd = mountain and cym = valley, and that the word “cym” was pronounced like our “kum.” I'll bet the Welsh would be cracking at a game like Wheel of Fortune; they'd never have to waste their money buying a vowel to figure out a phrase. Baroque nutters Martle? Oh kum now, Anty, "cwm" is pronounced "cwm". There is no easily expressed saesneg equivalent, surely, Shirley? Bryn, you is dead wicked! You know twll tin bob sais is a joke, innit? To be etched on motowray arches. And everone knows C is a K, like Cig (Pork) richard, I am not a baroque nutter, my antecedents come from Aberkenfig but our roots are Sanskrit. Ermmhh. |
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Ron Dough
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« Reply #13 on: 19:01:31, 24-08-2008 » |
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Oh kum now, Anty, "cwm" is pronounced "cwm". There is no easily expressed saesneg equivalent, surely, Shirley?
Apart from Coombe/combe as a place-name (particularly in the South-West - Coombe, Ilfracombe, Boscombe, &c.) and as a poetic alternative for "valley". |
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Bryn
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« Reply #14 on: 20:30:10, 24-08-2008 » |
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Oh kum now, Anty, "cwm" is pronounced "cwm". There is no easily expressed saesneg equivalent, surely, Shirley?
Apart from Coombe/combe as a place-name (particularly in the South-West - Coombe, Ilfracombe, Boscombe, &c.) and as a poetic alternative for "valley". Oh dear. Have I been mispronouncing Coombe, Ilfracombe and Boscombe, all these years. I have always thought it has a longer vowel sound then cwm, with more of an English "oo" than a Welsh "w". |
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