Joao Rival, Isabel Favilla, Roberto Alonso - Dieupart: Six Sonatas for a Flute with a Thorough Bass (London 1717) (2018)
BAND/ARTIST: Joao Rival, Isabel Favilla, Roberto Alonso, Giulio Quirici
- Title: Dieupart: Six Sonatas for a Flute with a Thorough Bass (London 1717)
- Year Of Release: 2018
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless +booklet
- Total Time: 00:52:21
- Total Size: 290 mb
- WebSite: Album Preview
Tracklist
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01. Sonata I in G Major: I. Preludio, largo
02. Sonata I in G Major: II. Allemanda, vivace
03. Sonata I in G Major: III. Sarabanda, largo
04. Sonata I in G Major: IV. Menuetto, primo-Menuetto secondo
05. Sonata I in G Major: V. Giga, allegro
06. Sonata IV in B-Flat Major: I. Largo
07. Sonata IV in B-Flat Major: II. Allegro
08. Sonata IV in B-Flat Major: III. Poco largo
09. Sonata IV in B-Flat Major: IV. Vivace
10. Sonata IV in B-Flat Major: V. Adagio
11. Sonata IV in B-Flat Major: VI. Allegro
12. Sonata IV in B-Flat Major: VII. Grave
13. Sonata IV In B-Flat Major: VIII. Giga, Allegro
14. Sonata VI in F Major: I. Preludio, largo
15. Sonata VI in F Major: II. Presto
16. Sonata VI in F Major: III. Grave
17. Sonata VI in F Major: IV. Allegro
18. Sonata V in G Minor: I. Preludio, largo
19. Sonata V in G Minor: II. Vivace
20. Sonata V in G Minor: III. Grave
21. Sonata V in G Minor: IV. Presto
22. Sonata V in G Minor: V. Largo
23. Sonata V in G Minor: VI. Giga, allegro
24. Sonata III in E Minor: I. Preludio, largo
25. Sonata III in E Minor: II. Vivace
26. Sonata III in E Minor: III. Largo
27. Sonata III in E Minor: IV. Allegro
28. Sonata III in E Minor: V. Grave
29. Sonata III in E Minor: VI. Giga, allegro
30. Sonata II in A Minor: I. Preludio, largo
31. Sonata II in A Minor: II. Vivace e affetuoso
32. Sonata II in A Minor: III. Grave
33. Sonata II in A Minor: IV. Allegro
34. Sonata II in A Minor: V. Sarabanda, largo
35. Sonata II in A Minor: VI. Vivace
36. Sonata II in A Minor: VII. Adagio
37. Sonata II In A Minor: VIII. Giga, Allegro
Dieupart is best known today for his Six suittes de clavessin, partly because J.S. Bach copied them out, and was supposedly influenced by them in his English Suites. The suites were probably composed in 1701, whereas these less familiar sonatas are considerably later works, dating from 1717: we don’t know when Dieupart was born, but a contemporary biographer records that he died ‘far advanced in years, and in very necessitated circumstances, about the year 1740.’ Dieupart spent his entire career working in and around London as a harpsichordist and composer: He was a prominent member of the musical establishment in Drury Lane though he later became a founding and popular member of the orchestra in a rival establishment, the Queen’s Theatre in the Haymarket. It was probably once he had become a private music teacher in his later years that he wrote this highly attractive set of six sonatas, which are dedicated to Lady Essex Finch (d. 1721), the member of a noble English family who was likely a student of Dieupart and would have paid for the sonatas. Even if Dieupart had not advertised himself as a ‘scholar’ of Arcangelo Corelli’s, his recorder sonatas betray the influence of the great Roman violinist and composer in the types of movements, the varied support of the bass, and an elegant simplicity. The dance movements often have an English flavour that is reminiscent of Purcell, but otherwise Dieupart’s French heritage predominates in the lively formality of his melodies. This new studio album is led by the Spanish recorder player Isabel Favilla, who has played with many distinguished early-music ensembles in Europe and South America.
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01. Sonata I in G Major: I. Preludio, largo
02. Sonata I in G Major: II. Allemanda, vivace
03. Sonata I in G Major: III. Sarabanda, largo
04. Sonata I in G Major: IV. Menuetto, primo-Menuetto secondo
05. Sonata I in G Major: V. Giga, allegro
06. Sonata IV in B-Flat Major: I. Largo
07. Sonata IV in B-Flat Major: II. Allegro
08. Sonata IV in B-Flat Major: III. Poco largo
09. Sonata IV in B-Flat Major: IV. Vivace
10. Sonata IV in B-Flat Major: V. Adagio
11. Sonata IV in B-Flat Major: VI. Allegro
12. Sonata IV in B-Flat Major: VII. Grave
13. Sonata IV In B-Flat Major: VIII. Giga, Allegro
14. Sonata VI in F Major: I. Preludio, largo
15. Sonata VI in F Major: II. Presto
16. Sonata VI in F Major: III. Grave
17. Sonata VI in F Major: IV. Allegro
18. Sonata V in G Minor: I. Preludio, largo
19. Sonata V in G Minor: II. Vivace
20. Sonata V in G Minor: III. Grave
21. Sonata V in G Minor: IV. Presto
22. Sonata V in G Minor: V. Largo
23. Sonata V in G Minor: VI. Giga, allegro
24. Sonata III in E Minor: I. Preludio, largo
25. Sonata III in E Minor: II. Vivace
26. Sonata III in E Minor: III. Largo
27. Sonata III in E Minor: IV. Allegro
28. Sonata III in E Minor: V. Grave
29. Sonata III in E Minor: VI. Giga, allegro
30. Sonata II in A Minor: I. Preludio, largo
31. Sonata II in A Minor: II. Vivace e affetuoso
32. Sonata II in A Minor: III. Grave
33. Sonata II in A Minor: IV. Allegro
34. Sonata II in A Minor: V. Sarabanda, largo
35. Sonata II in A Minor: VI. Vivace
36. Sonata II in A Minor: VII. Adagio
37. Sonata II In A Minor: VIII. Giga, Allegro
Dieupart is best known today for his Six suittes de clavessin, partly because J.S. Bach copied them out, and was supposedly influenced by them in his English Suites. The suites were probably composed in 1701, whereas these less familiar sonatas are considerably later works, dating from 1717: we don’t know when Dieupart was born, but a contemporary biographer records that he died ‘far advanced in years, and in very necessitated circumstances, about the year 1740.’ Dieupart spent his entire career working in and around London as a harpsichordist and composer: He was a prominent member of the musical establishment in Drury Lane though he later became a founding and popular member of the orchestra in a rival establishment, the Queen’s Theatre in the Haymarket. It was probably once he had become a private music teacher in his later years that he wrote this highly attractive set of six sonatas, which are dedicated to Lady Essex Finch (d. 1721), the member of a noble English family who was likely a student of Dieupart and would have paid for the sonatas. Even if Dieupart had not advertised himself as a ‘scholar’ of Arcangelo Corelli’s, his recorder sonatas betray the influence of the great Roman violinist and composer in the types of movements, the varied support of the bass, and an elegant simplicity. The dance movements often have an English flavour that is reminiscent of Purcell, but otherwise Dieupart’s French heritage predominates in the lively formality of his melodies. This new studio album is led by the Spanish recorder player Isabel Favilla, who has played with many distinguished early-music ensembles in Europe and South America.
Year 2018 | Classical | FLAC / APE
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