Hotteterre - Complete Music for Flute & Continuo
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Label: Brilliant Classics
Cat No: 95511
Format: CD
Number of Discs: 2
Genre: Chamber
Release Date: 20th April 2018
Contents
Works
Bousset, Jean-Baptiste Drouard de
Pourquoy doux RossignolL'Art de preluder, op.7
Pieces pour la Flute-Traversiere et autres Instruments, Book 2
Goutons un doux repos, cessons d'aimer Silvie
Artists
Guillermo Penalver (baroque flute)Tony Millan (harpsichord)
Maria Alejandra Saturno (viola da gamba)
Works
Bousset, Jean-Baptiste Drouard de
Pourquoy doux RossignolL'Art de preluder, op.7
Pieces pour la Flute-Traversiere et autres Instruments, Book 2
Goutons un doux repos, cessons d'aimer Silvie
Artists
Guillermo Penalver (baroque flute)Tony Millan (harpsichord)
Maria Alejandra Saturno (viola da gamba)
About
Jacques-Martin may himself have made instruments as his ancestors did, but it was for his playing and composing that he was most esteemed in his own lifetime. Even taking into account the prolific output of his contemporary Boismortier, there is surely no more dazzling and uplifting Baroque music composed for the flute and recorder than the suites of Hotteterre which are presented here complete in new recordings, led by the Madrid-based musician Guillermo Peñalver: the sessions took place in the magnificent chapel of San Lorenzo in the city’s Escorial Palace.
Several quicker movements present the soloist with considerable technical challenges. The Allemande of the Third Suite appears to imitate waterfalls from the fountain in the gardens of Saint-Cloud through descending arpeggios. Yet the virtuosity is always lightly worn in Hotteterre, never written for the sake of sheer display but always to charm and delight the listener. Within the same suite is one of his most beautiful pieces, Le Plaintif; a simple rondeau with subtle, imperceptibly entangling ornamentation.
In addition to the suites, Peñalver presents several brief flute solos, and then the two extraordinary Préludes in which Hotteterre sums up and condenses all of his skill, artistry and science. While nominally cast in D major and G minor, each of them moves through every key belonging to their respective scales in a remarkable feat of compositional ingenuity, introducing abundant changes of mood and character along the way: so much for the commonplace idea of the French Baroque as a polished idiom as orderly as the courtly etiquette which accompanied it.
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