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LES GOUTS ACCORDES
Esteban La Rotta - theorbo
Jivko Georgiev - cello
Margaret Little - viola da gamba
Katelyn Clark - organ
Sonate II en trio en ré mineur
Barrière, Jean-Baptiste
1 Adagio
2 Allegro
3 Aria Largo
4 Giga
Pièces de théorbe en ré majeur
De Visée, Robert
5 Prélude
6 Allemande
7 Courante
8 Sarabande
9 Que devant vous tout s'abaisse et tout tremble
Lully, Jean-Baptiste
10 Entrée d'Apollon [extrait de Le triomphe de l'amour]
Lully, Jean-Baptiste
11 Passacaille
Hotman, Nicolas
12 Chaconne des Arlequins
Lully, Jean-Baptiste
13 Chaconne
Braun, Jean-Daniel
Sonate III en ré mineur
Barrière, Jean-Baptiste
14 Adagio
15 Allemande
16 Sarabande
17 Menuet
Suite en la mineur
De Visée, Robert
18 Prélude
19 Allemande La Royalle
20 Courante
21 Gavotte
22 Chaconne
23 Mascarade, rondeau
Sonate VI en do mineur
Barrière, Jean-Baptiste
24 Adagio
25 Allegro
26 Largetto
27 Giga
28 Logistille, lentemente
Lully, Jean-Baptiste
The second half of the seventeenth century saw the unification and centralization of the French State. Louis XIV understood that no real unification would be possible without first setting the cultural tone. France, it was deemed, needed an independent musical identity, in oppostion to italian style. Although some musicians claimed to have adopted the style of the goûts réunis, thereby melting Italian and French references.
French composer Robert de Visée (c. 1655-1732) was known as a theorbo and guitar player. Around 1680, de Visée became a chamber musician for Louis XIV. The theorbo pieces for this recording are taken from the Saizenay manuscript compiled in 1699 by the French amateur lutenist Jean Etienne Vaudry, Seigneur de Saizenay.
Not much is known today about Jean-Baptiste Barrière (1707-1747), an exceptional early 18th century French cellist and composer. Published between 1733 and 1739, Barrière’s sonatas for the cello and continuo are innovative and represent a significant technical challenge for the player.
Atma Classique ACD22673
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