×

10% discount on your next order!

Subscribe to our newsletter and receive a personal discount code for 10% discount on a album of your choice! After subscribing, you will receive the code in your email. This code is only valid for 10 days!




The code is valid one time and valid for a 10 days after receiving the promotioncode. Your emailaddress will only be used by Challenge Records International and will not be given to 3rd party advertisers. If you have any questions please contact us.
Cover
Ensemble Carmen Veneris/F. Devienne, J.C.F. Bach, T. Giordani y J.F. Tapray

Ensemble Carmen Veneris

Un viaje musical por la Europa de las Luces

  • Type CD
  • Label Lindoro
  • UPC 8436003801221
  • Catalog number MPC 0122
  • Release date 09 May 2014

About the album

A musical journey through Europe: Trios and Quartets from Devienne, J.C.F. Bach, Giordani and  J.F. Tapray.


François Devienne (1759 – 1803) wrote the Sonata en Quatour pour Le Clavecin ou Le Pianoforte avec Accompagnment de Flûte, Cor et Alto Obliges (Il y a une partie de violincelle pour remplacer le cor)... in Paris in 1789 whilst presenting his services as a Bassoonist to Cardinal de Rohan in the Théâtre de Monsieur.

The music of 
Johann Christoph Friederich Bach (1732-1795), the second youngest son of Johann Sebastian Bach, symbolizes the bridge between two eras.

Tommaso Giordani was born in Naples in 1730. He was the son of an Italian businessman, singer and librettist and spent the early years of his life travelling all around Europe with his family (the founding members of a small opera company), arriving in England, probably, in 1753. There his family performed at Covent Garden where, on 12 January 1756, Tommaso’s first opera made its debut. The family then moved to Dublin but Tommaso returned to London where he established himself as a composer of opera, oratorios and instrumental chamber music.

Practically all the work of 
Jean-François Tapray (1738 – 1798) is for the forte-piano and harpsichord, covering the transition period from one to another. He, like most of his contemporaries in Paris, made no significant distinction in style between the two instruments and it is, therefore, pointless to compare his sonatas for the harpsichord with those that include “forte-piano” in their title.
 

Add a comment


We need to make sure that you are really an human, please enter the code below.

code