D'Anglebert - Les Airs Originaux de M. Lully: Passacaille d'Armide .. (ref.record.: Café Zimmermann)

Описание: Jean-Henri d'Anglebert (1628-1691) Les Airs Originaux de Monsieur Lully
00:00 Ouverture de Cadmus
02:41 Ritournelle des Fées de Rolland
04:07 Petit Air pour les mesmes
05:47 Premier Air
08:01 Second Air
10:30 Chaconne de Phaeton
14:10 Ouverture: Le Carnaval, Mascarade
18:37 Les Songes agréables d'Atys
20:43 Sarabande dieux des Enfers
24:27 Air d'Apollon du Triomphe de l'Amour
27:08 Passacaille d'Armide

Café Zimmermann
Conductor: Pablo Valetti
Recorded in 2004
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Jean-Henri d'Anglebert: (...) "J'y ai joint quelques Airs de Monsieur de Lully. Il faut avouer que les Ouvrages de cet homme incomparable sont d'un goût fort superieur à tout autre. Comme ils réussissent avec avantage sur le Clavecin, j'ai cru qu'on me sçauroit gré d'en donner ici plusieurs de différent caractère.

Jean-Henri d'Anglebert: (...) "I have added some airs by Monsieur de Lully. It must be admitted that the works of that incomparable man are much superior in taste to any other. As they are admirably suited to the harpsichord, I thought the public would be glad of my including several here, in different characters."

Marie Demeilliez: Although the practice of performing songs and excerpts from currently fashionable ballets or operas on the harpsichord is widely attested in the seventeenth century, d'Anglebert's publication is, along with the harpsichord reduction of the symphonies from the Alcide of Louis de Lully and Marin Marais, the only one of its kind from this period. On the other hand, such transcriptions are very often found in manuscript, so much so that Lully, who as far as is known did not write for the instrument, has ended up becoming, with 400 transcriptions of some 220 different pieces, the best-represented composer in the whole French harpsichord repertoire! These transcriptions are concentrated above all in anthologies made in the last two decades of the seventeenth century, when the surintendant de la musique du roi was at the height of his fame : 'Both persons of distinction and the people sang most of the airs from his operas; palaces and the finest apartments, as well as middle-class households, and even the very streets rang with them.'

Having arrived at the court of France from Italy in 1646, Jean-Baptiste Lully was from the 1660s onwards surintendant de la musique du roi and director of the Académie Royale de Musique. In this public theatre in Paris, he gave the premieres of fourteen tragédies lyriques, a genre he is considered as having invented with Cadmus et Hennione in 1673. In addition to a large corpus of sacred and instrumental music due to his functions, he was the composer of numerous ballets and mascarades written for the court, and of comédies-ballets, tragédies ballets, and pastorales in collaboration with Philippe Quinault, Moliere or Pierre Corneille. Quite naturally, d'Anglebert includes in his musical testament arrangements for harpsichord of a variety of celebrated pieces by his eminent colleague and friend — Lully stood godfather to his eldest son Jean-Baptiste Henry in 1662. He knew them inside out from having himself played the continuo part on the harpsichord in the performances of certain work.

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