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Nicholas McGegan - Rameau: Platee And Dardanus Suites (2008)

Classic | Author: SELMER | 7-02-2018, 18:29
Nicholas McGegan - Rameau: Platee And Dardanus Suites (2008)
Artist: Nicholas McGegan & Philharmonia Baroque Orchestra
Title Of Album: Rameau: Platee And Dardanus Suites
Year Of Release: 1998 / 2008
Label: deutsche harmonia mundi
Country: UK
Genre: Classical
Quality: FLAC (*image + .cue, log, artwork)
Bitrate: Lossless
Time: 01:14:40
Full Size: 356 MB


Suite from Platee
01. Suite: Overture
02. Suite: Air Pantomime - Fierement
03. Suite: Rigaudon
04. Suite: Contredanse (en Rondeau)
05. Suite: Passepieds
06. Suite: Tambourins
07. Suite: Air de ballet (Mouvement de Chaconne)
08. Suite: Passepieds
09. Suite: Orage
10. Suite: Air, pour des fous gais
11. Suite: Air, pour des fous tristes
12. Menuet (dans le gout de vielle, pour les violons seuls)
13. Airs
14. Loure - Grave
15. Musette-Gracieux
16. Tambourins (Rigaudons)
17. Chaconne

Suite from Dardanus
18. Ouverture
19. Air gracieux pour les Plaisirs
20. Tambourins
21. Air vif
22. Air - Grave
23. Air - Vivement
24. Air gai en Rondeau "Les Niais de Sologne"
25. Tambourins
26. Le Sommeil - Rondeau tendre
27. Le Monstre sortant des flots
28. Gavotte gracieuse/Gavotte en Rondeau
29. Chaconne

This suite of dances from Dardanus and Plat?e is an ideal introduction to Rameau. Though his operas are full of articulate use of language and are, in their own polite way, theatrically charged, French baroque opera required periodic dance interludes, which is what is included here. Unlike 19th-century French opera, the dance music in these 18th-century works is often among the most fascinating in the entire opera, full of rich, unorthodox scoring and so packed with ideas underneath the mellifluous exterior that each interlude often seems like a miniature concerto for orchestra. Conductor Nicholas McGegan's natural rhythmic effervescence makes him ideal for this music--he should record more of it, much more--and his Philharmonia Baroque Orchestra copes handily with the substantial difficulties posed by a composer who thought each melodic strand should have a strong mind of its own. -- David Patrick Stearns

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