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Pièces de clavecin en concerts
Jean-Philippe Rameau

Alberto Rasi | Accademia Strumentale Italiana

Pièces de clavecin en concerts

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917290523
Catnr: CC 72905
Release date: 04 March 2022
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Label
Challenge Classics
UPC
0608917290523
Catalogue number
CC 72905
Release date
04 March 2022

"In short this is an excellent disc and one that should entertain and entice lovers of late Baroque French music."

Fanfare, 01-9-2022
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Artist(s)
Composer(s)
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About the album

Fifteen years after his Nouvelles Suites de Pièces de Clavecin, Rameau once again turns his attention to an instrumental work, for what will be the last time, inspired by the new potential for chamber music glimpsed in the use of the concertante keyboard. The 1741 collection is the only new work he produced between 1740 and 1744, before returning to the musical theatre – to which he will dedicate the rest of his lifeThe most attractive aspect of the Pièces de Clavecin en Concerts, and the one which provides the most authentic reading of the work, is the multiplicity of possible combinations in performance between the instruments indicated in the score (harpsichord, violin/flute, viola da gamba/2nd violin ), following the detailed instructions that Rameau provides for each of them in the various Avis in the preface of the printed edition. The author’s intention was undoubtedly for the harpsichord and its virtuosic protagonism to be the backbone of the Pièces; however, the possibilities of alternative timbric arrangements are specifically contemplated by Rameau for this work. What was a widespread ad libitum performance practice, today becomes an extremely inviting challenge for modern performers in terms of tonal reinvention of the pieces. Thus, with each new reading the music may be reinvented, making in turn every new listening experience a rediscovery and a revelation.
Na hun goed ontvangen album met Bachs Die Kunst der Fuga, gaan Alberto Rasi en zijn Accademia Strumentale Italiana een nieuwe uitdaging aan met hun nieuwe album. Dit keer leggen ze het hedendaagse Franse meesterwerk van Jean-Phlippe Rameau vast: Pièces de clavecin en concerts. Geheel nieuw is het concertante karakter van dit stuk. In de bewerking van Alberto Rasi wordt de verscheidenheid aan mogelijke instrumentele combinaties, zoals die in de partituur staan aangegeven, in de uitvoering benut. Wat het werk beslist ten goede komt, het is verfrissend en als je het hoort een ware openbaring.

Vijftien jaar na zijn Nouvelles Suites de Pièces de Clavecin richtte Rameau opnieuw en voor de laatste keer, zijn aandacht op een instrumentaal werk. Hij raakte geïnspireerd door de nieuwe mogelijkheden van de kamermuziek, zoals het gebruik van de concertante piano. Het meest aansprekende aspect van de Pièces de Clavecin en Concerts, dat de meest authentieke lezing van het werk mogelijk maakt, is dat Rameau in de partituur gedetailleerde instructies geeft voor elk instrument, de klavecimbel, viool/fluit, viola da gamba/2e viool en de mogelijke combinaties ervan in de uitvoering.

Zijn bedoeling was ongetwijfeld dat het klavecimbel de ruggengraat van de Pièces zou worden. Maar Rameau overwoog ook duidelijk de mogelijkheden van alternatieve tonale arrangementen. Wat een wijdverbreide ad libitum-uitvoeringspraktijk was, wordt vandaag de dag een uiterst uitnodigende uitdaging voor moderne artiesten in termen van tonale heruitvinding van de stukken. Zo kan bij elke nieuwe lezing de muziek opnieuw worden uitgevonden, waardoor elke nieuwe luisterervaring weer een herontdekking en een openbaring wordt. Na dit werk zou Rameau zich de rest van zijn leven wijden aan het muziektheater.

De Accademia Strumentale Italiana werd in 1981 opgericht in Verona met als specifiek doel de sferen op te roepen van de oude en illustere Italiaanse academies, daar waar het plezier van elkaar ontmoeten een speciaal tintje gaf aan het samen muziek maken. Het repertoire van het ensemble omvat instrumentale en vocale muziek, variërend van de renaissance tot de barok. Muziek die uitgevoerd wordt conform strikt filologische canons, zonder afbreuk te doen aan het vermogen om te communiceren met het heden. De musici van de Accademia zijn ervan overtuigd dat, zelfs als de partituur oud is, muziek altijd tijdloos is. Oprichters van het ensemble waren Alberto Rasi en klaveciniste Patrizia Marisaldi. Rasi gaf als solist en met zijn ensemble concerten in heel Europa en daarbuiten. In 1992 werd hij muzikaal leider van de Accademia Strumentale Italiana.
Fünfzehn Jahre nach seinen Nouvelles Suites de Pièces de Clavecin wendet sich Rameau erneut und zum letzten Mal einem Instrumentalwerk zu, inspiriert von den neuen Möglichkeiten der Kammermusik, die sich durch die Verwendung des konzertanten Klaviers abzeichnen. Die Sammlung von 1741 ist das einzige neue Werk, das er zwischen 1740 und 1744 produziert, bevor er sich wieder dem Musiktheater zuwendet, dem er den Rest seines Lebens widmen wird. Der reizvollste Aspekt der Pièces de Clavecin en Concerts und derjenige, der die authentischste Lesart des Werks ermöglicht, ist die Vielzahl der möglichen Kombinationen bei der Aufführung zwischen den in der Partitur angegebenen Instrumenten (Cembalo, Violine/Flöte, Viola da Gamba/2. Violine), entsprechend den detaillierten Anweisungen, die Rameau für jedes von ihnen in den verschiedenen Avis im Vorwort der Druckausgabe gibt. Die Absicht des Autors war zweifellos, dass das Cembalo und sein virtuoser Protagonismus das Rückgrat der Pièces bilden sollten; die Möglichkeiten alternativer klanglicher Arrangements wurden von Rameau jedoch ausdrücklich für dieses Werk in Betracht gezogen. Was früher eine weit verbreitete ad libitum-Aufführungspraxis war, wird heute zu einer äußerst einladenden Herausforderung für moderne Interpreten im Hinblick auf die klangliche Neuerfindung der Stücke. So kann die Musik mit jeder neuen Lesart neu erfunden werden, was wiederum jedes neue Hörerlebnis zu einer Neuentdeckung und einer Offenbarung macht.

Artist(s)

Accademia Strumentale Italiana

The Accademia Strumentale Italiana was founded in Verona with the specific purpose of recreating the atmospheres of those ancient and illustriuos academies, where the pleasure of meeting one another gave a special fl avour to making music together. Its repertoire encompasses instrumental and vocal music ranging from the Renaissance to the Baroque, performed according to strict philological canons, but without compromising its ability to comunicate with the present: its musicians are convinced that even if the score is ancient, Music is always timeless. The Accademia has performed extensively in Europe and has been invited to several international festivals where it has always met with widespread critical acclaim. The members of the Accademia are all renowned specialists in HIP and work together...
more
The Accademia Strumentale Italiana was founded in Verona with the specific purpose of recreating the atmospheres of those ancient and illustriuos academies, where the pleasure of meeting one another gave a special fl avour to making music together. Its repertoire encompasses instrumental and vocal music ranging from the Renaissance to the Baroque, performed according to strict philological canons, but without compromising its ability to comunicate with the present: its musicians are convinced that even if the score is ancient, Music is always timeless.
The Accademia has performed extensively in Europe and has been invited to several international festivals where it has always met with widespread critical acclaim. The members of the Accademia are all renowned specialists in HIP and work together with some of the most famous European ensembles.
Since 1993 the Accademia has recorded mainly for Stradivarius and DIVOX, collecting prizes and awards from the specialized press (Midem Classical Award 2007 with the CD Dolcissimo Sospiro). With the recording of Die Kunst der Fuga started a collaboration with the Dutch label Challenge Records. Alberto Rasi is the group’s musical director; the ensemble is currently composed of a consort of viols, who are joined by guest artists invited to partake in larger projects.

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Luigi Lupo (flute)

Alberto Rasi (viola)

Alberto Rasi, veronese, after his studies in Double Bass and Composition, studied Viola da Gamba and Violone at the Schola Cantorum Basel with Jordi Savall, and at the Conservatoire de Génève with Ariane Maurette. Since 1978, taking advantage of his training as a Double Bass player, he began playing both the viola da gamba and violone, giving concerts and recordings with the most renowned groups. In 1981 he co-founded Accademia Strumentale Italiana with the harpischordist Patrizia Marisaldi. As soloist and with this ensemble he has given concerts throughout Europe and beyond. In 1992 he became Artistic Director of this group and he has recorded several CDs for the Stradivarius label of Milan and various others CD labels winning various prizes including: Diapason d’Or,...
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Alberto Rasi, veronese, after his studies in Double Bass and Composition, studied Viola da Gamba and Violone at the Schola Cantorum Basel with Jordi Savall, and at the Conservatoire de Génève with Ariane Maurette.

Since 1978, taking advantage of his training as a Double Bass player, he began playing both the viola da gamba and violone, giving concerts and recordings with the most renowned groups.

In 1981 he co-founded Accademia Strumentale Italiana with the harpischordist Patrizia Marisaldi.

As soloist and with this ensemble he has given concerts throughout Europe and beyond. In 1992 he became Artistic Director of this group and he has recorded several CDs for the Stradivarius label of Milan and various others CD labels winning various prizes including: Diapason d’Or, 10 de Repertoire, Musica 5 Stars, Amadeus and the Midem Classical Award 2007 in the category, Early Music.

He is currently teaching viola da gamba at the Conservatory of Verona.

In 1999 he founded the Baroque Orchestra of Verona, Il Tempio Armonico, which he conducts from the violoncello, and with which he has recorded the complete orchestral music of the veronese Evaristo Felice Dall’Abaco.


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Patrizia Marisaldi (harpsichord)

Composer(s)

Jean-Philippe Rameau

The Frenchman Jean-Philippe Rameau was one of the most important music theorists in the history of Western music. He introduced the term of the'subdominant' and divided chord structures into triads (chords with three notes) and tetrads (chords with four notes), and laid the foundation for the modern study of harmonics. Yet, he was also a seminal composer, and his contribution to the development of opera should not be underestimated. In the first 40 years of his life, Rameau remained in obscurity as an organ player in the country side of France. In 1722, he moved to Paris, where he published his Traite de l'Harmonie (treatise on Harmony). Here, Rameau was recognised as a major music theorist and teacher, and soon he...
more

The Frenchman Jean-Philippe Rameau was one of the most important music theorists in the history of Western music. He introduced the term of the"subdominant" and divided chord structures into triads (chords with three notes) and tetrads (chords with four notes), and laid the foundation for the modern study of harmonics. Yet, he was also a seminal composer, and his contribution to the development of opera should not be underestimated. In the first 40 years of his life, Rameau remained in obscurity as an organ player in the country side of France. In 1722, he moved to Paris, where he published his Traite de l'Harmonie (treatise on Harmony). Here, Rameau was recognised as a major music theorist and teacher, and soon he would achieve fame as a harpsichordist and composer. Yet, Rameau had even greater ambitions. He desired to become an opera composer. His first operas Hippolyte et Aricie, Castor et Pollux en zijn opera-ballet Les Indes Galantes became huge hits. The music was harmonically a lot complexer than the audience of the time was used to, yet it was also more dramatic. Rameau received financial support from the fabulously rich La Pouplinière and his ties with the royal court. Around 1750, Rameau was at the peak of his fame and his works were being performed throughout France. However, he slowly lost the support of the philosophers and artists of the Enlightenment and after his death in 1764 his operas went into oblivion. Only in the last couple of decades, his music was rediscovered and Rameau gained the attention he deserves.


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Press

In short this is an excellent disc and one that should entertain and entice lovers of late Baroque French music.
Fanfare, 01-9-2022

The extraordinary skill of the performers makes listening particularly pleasant because each movement is interesting and above all the interaction between the four that was the author's aim is always clear and understandable even with less concentrated listening.
L'Arena, 16-7-2022

From the very first notes, this beautifully played work has a cheerful and elegant character.
Visie Gids, 14-7-2022

A marvel of this recording is that the musicians of the Accademia Strumentale Italiana, with a sensitivity and a maturity that allow them to renew the approach to this music, deploy the interpretative practice ad libitum – widespread at the time – with rigour and caution... This recording is much attractive also for the performance criteria used by the Italian ensemble.
Sonograma, 29-3-2022

"The recording technique has balanced the four instruments beautifully: the silvery, sparkling harpsichord keeps the leading role, but the other soloists are by no means pushed aside. In the deep Rameau waters, still truly hidden treasures appear to lie.”
Luister

Play album Play album
01.
I Concert: La Coulicam, Rondement
03:48
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
02.
I Concert: La Livri, Rondeau gracieux
02:45
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
03.
I Concert: Le Vézinet, Gaiement, sans vitesse
03:38
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
04.
II Concert: La Laborde, Rondement
05:44
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
05.
II Concert: La Boucon, Air, gracieux
05:00
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
06.
II Concert: L’Agaçante, Rondement
02:50
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
07.
II Concert: Premier et 2.me Menuet
04:52
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
08.
III Concert: La La Popliniére, Rondement
02:59
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
09.
III Concert: La Timide, I et II Rondeau gracieux
05:38
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
10.
III Concert: I Tambourin et II Tambourin en rondeau
02:35
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
11.
IV Concert: La Pantomime, Loure un peu vive
04:54
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
12.
IV Concert: L’Indiscrète, Vivement
01:50
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
13.
IV Concert: La Rameau
04:39
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
14.
V Concert: La Forqueray, Fugue
04:41
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
15.
V Concert: La Cupis, Rondement
05:31
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
16.
V Concert: La Marais
02:37
(Jean-Philippe Rameau) Accademia Strumentale Italiana, Luigi Lupo, Rossella Croce, Alberto Rasi, Patrizia Marisaldi
show all tracks

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