- Description
- Specifications
This program is available only in digital version in our catalog, and as such we cannot propose it on our website.
Product details:
Composers : Julien Belin, Etienne Moulinié, Charles Racquet, Marc-Antoine Charpentier, Jacques-Denis Thomelin, Giovanni Salvatore, Nicolas de la Grotte, Guillaume Costeley, Jehan Titelouze, Henry Purcell, Dietrich Buxthehude, François Couperin, anonymes....
Artists : Jean-Luc Ho, orgue
| MA CHARPENTIER | Sarabande et Passecaille excerpt from Concert pour quatre parties de violes (H.545) |
Overview
In France, the first musical sources to be written for the organ are very rare indeed and a good number of them are actually transcriptions - three books of songs, a book of motets and a book of dances, all “reduced to tablature so as to be played on organs, spinets and monochords”, were published by Pierre Attaingnant in Paris in 1530 and 1531. In other words the organ already had a reputation as an instrument that could be used for transcription purposes, on which a musician could give a solo performance of a piece that required a number of singers; this was a role that the instrument was to retain, even once the 18th century was over.The organ of Charolles is the most significant project ever taken on by the Manufacture Blumenroeder. Work began in the second half of 2013 and the instrument was completed in time for this recording. It is a new organ the artistic basis for which has its roots in 1630s Rouen. The character of Jehan Titelouze was the thread running through the research carried out, largely by François Menissier, in order to come up with the composition of the instrument and to build the pipes..
The organ of Charolles was intended to be a “European organ with a French accent”; the makers based it upon a Franco-Flemish aesthetic belonging to the first half of the 17th century, whilst at the same time retaining memories of the Renaissance and making incursions towards certain later developments in central Germany. It is inspired by the recommendations that Jean Titelouze had made to the Norman organ makers (he himself was from Saint-Omer...) The instrument’s ability to embrace the European repertoires is illustrated here by a suite of French, Italian, English and German pieces.
Laurent Guillot and Quentin Bluemenroeder