Terra Nova Collective - Leemans: Chamber Music, Six Quatuors Op. 3 (2021)
BAND/ARTIST: Terra Nova Collective
- Title: Leemans: Chamber Music, Six Quatuors Op. 3
- Year Of Release: 2021
- Label: Etcetera
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:48:44
- Total Size: 231 mb
- WebSite: Album Preview
Tracklist
01. Quartetto II, Op. 3: I. Allegro Moderato
02. Quartetto II, Op. 3: II. Adagio
03. Quartetto II, Op. 3: III. Poco Presto
04. Quartetto V, Op. 3: I. Tempo di Minuetto
05. Quartetto V, Op. 3: II. Allegretto
06. Quartetto III, Op. 3: I. Moderato
07. Quartetto III, Op. 3: II. Poco Presto
08. Quartetto IV, Op. 3: I. Larghetto Pastorella
09. Quartetto IV, Op. 3: II. Allegro
10. Quartetto I, Op. 3: I. Allegretto
11. Quartetto I, Op. 3: II. Presto
12. Quartetto VI, Op. 3: I. Moderato
13. Quartetto VI, Op. 3: II. Minuetto Gratioso
14. Quartetto VI, Op. 3: III. Presto
There was no shortage of Flemish migrants in Paris in the first half of the 18th century. They were often skilled craftsmen, attracted by the largest market for luxury goods in Europe in what had been an era of peace, stability and economic development since the death of Louis XIV in 1715. The Flemish migrants followed an age-old pattern, as they tended to live in the same neighbourhoods and to seek out each other’s company in various cafés and associations. Some of these were artists: Antoine Watteau (1684-1721) was born in Valenciennes in French Flanders before moving to Paris, where he profited from his Flemish heritage and became one of the most influential painters in 18th century France . Joseph Suvée (1743-1807), a painter from Bruges, entered and won the prestigious Prix de Rome in 1771; Jacques-Louis David was one of that year’s unsuccessful candidates. What was true for painters was also true for musicians. Hébert Leemans, was originally a citizen of Bruges, as was his contemporary Suvée; they both moved to the French capital at approximately the same time. Leemans was then to play a significant role in the development of the early French symphonic style.
01. Quartetto II, Op. 3: I. Allegro Moderato
02. Quartetto II, Op. 3: II. Adagio
03. Quartetto II, Op. 3: III. Poco Presto
04. Quartetto V, Op. 3: I. Tempo di Minuetto
05. Quartetto V, Op. 3: II. Allegretto
06. Quartetto III, Op. 3: I. Moderato
07. Quartetto III, Op. 3: II. Poco Presto
08. Quartetto IV, Op. 3: I. Larghetto Pastorella
09. Quartetto IV, Op. 3: II. Allegro
10. Quartetto I, Op. 3: I. Allegretto
11. Quartetto I, Op. 3: II. Presto
12. Quartetto VI, Op. 3: I. Moderato
13. Quartetto VI, Op. 3: II. Minuetto Gratioso
14. Quartetto VI, Op. 3: III. Presto
There was no shortage of Flemish migrants in Paris in the first half of the 18th century. They were often skilled craftsmen, attracted by the largest market for luxury goods in Europe in what had been an era of peace, stability and economic development since the death of Louis XIV in 1715. The Flemish migrants followed an age-old pattern, as they tended to live in the same neighbourhoods and to seek out each other’s company in various cafés and associations. Some of these were artists: Antoine Watteau (1684-1721) was born in Valenciennes in French Flanders before moving to Paris, where he profited from his Flemish heritage and became one of the most influential painters in 18th century France . Joseph Suvée (1743-1807), a painter from Bruges, entered and won the prestigious Prix de Rome in 1771; Jacques-Louis David was one of that year’s unsuccessful candidates. What was true for painters was also true for musicians. Hébert Leemans, was originally a citizen of Bruges, as was his contemporary Suvée; they both moved to the French capital at approximately the same time. Leemans was then to play a significant role in the development of the early French symphonic style.
Year 2021 | Classical | FLAC / APE
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