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Product details
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
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On this CD:
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(Le) Divertissement Royal
Composed by Jean-Baptiste Lully
Performed by Concert des Nations
Conducted by Jordi Savall
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Alceste (ou le triomphe d'Alcide)
Composed by Jean-Baptiste Lully
Performed by Concert des Nations
Conducted by Jordi Savall
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(Le) Bourgeois gentilhomme
Composed by Jean-Baptiste Lully
Performed by Concert des Nations
Conducted by Jordi Savall
Product Description
Amazon.co.uk Review
What is it that makes French baroque music so unmistakable? You only have to listen to a minute or two of this disc to recognise its nationality, even if guessing the composer is more difficult. Perhaps it's the instrumental colour, as many-hued as the finest embroidered cloth, perhaps it's the juxtaposition of the most stately overtures--full of brass flourishes and dignified pomp--with the liveliest dance movements. Indeed, so French is this music in style, that it's of little consequence that Lully was actually Italian-born (though French trained). These three suites were all composed for the court of Louis XIV, a great patron of the arts and in his time an enthusiastic dancer. Le divertissement royal is as gilded and magnificently over-the-top as the Versailles festivities it was designed to celebrate (just sample the magnificent trumpets in track 11) while Le bourgeois gentilhomme, was Lully's most spectacular collaboration with Molière in a form that combined music and drama (sample the Turkish ceremony in track 4 or track 8, a ceremonial and gracious end to the suite). The suite from the opera Alceste makes a fittingly rich finale, ranging wide from the dramatic possibilities of "Echos" (track 23) to the overcast "La pompe funèbre". The playing from Jordi Savall and his band is terrific: vivid, perfectly drilled and endlessly responsive to the theatrical possibilities of this effervescent music, a feature brought to the fore by the excellent recording. --Harriet Smith
From Amazon.com
What is it that makes French baroque music so unmistakable? You only have to listen to a minute or two of this disc to recognize its nationality, even if guessing the composer is more difficult. Perhaps it's the instrumental color, as many-hued as the finest embroidered cloth; perhaps it's the juxtaposition of the most stately overtures--full of brass flourishes and dignified pomp--with the liveliest dance movements. Indeed, so French is this music in style that it's of little consequence that Lully was actually Italian-born (though French-trained). These three suites were all composed for the court of Louis XIV, a great patron of the arts and in his time an enthusiastic dancer. Le divertissement royal is as gilded and magnificently over-the-top as the Versailles festivities it was designed to celebrate (just sample the magnificent trumpets in track 11), while Le bourgeois gentilhomme was Lully's most spectacular collaboration with Molière in a form that combined music and drama (sample the Turkish ritual in track 4 or track 8, a ceremonial and gracious end to the suite). The suite from the opera Alceste makes a fittingly rich finale, ranging wide from the dramatic possibilities of "Echos" (track&nbps;23) to the overcast "La pompe funèbre." The playing by Jordi Savall and his band is terrific: vivid, perfectly drilled, and endlessly responsive to the theatrical possibilities of this effervescent music--brought to the fore by the excellent recording. --Harriet Smith
What is it that makes French baroque music so unmistakable? You only have to listen to a minute or two of this disc to recognise its nationality, even if guessing the composer is more difficult. Perhaps it's the instrumental colour, as many-hued as the finest embroidered cloth, perhaps it's the juxtaposition of the most stately overtures--full of brass flourishes and dignified pomp--with the liveliest dance movements. Indeed, so French is this music in style, that it's of little consequence that Lully was actually Italian-born (though French trained). These three suites were all composed for the court of Louis XIV, a great patron of the arts and in his time an enthusiastic dancer. Le divertissement royal is as gilded and magnificently over-the-top as the Versailles festivities it was designed to celebrate (just sample the magnificent trumpets in track 11) while Le bourgeois gentilhomme, was Lully's most spectacular collaboration with Molière in a form that combined music and drama (sample the Turkish ceremony in track 4 or track 8, a ceremonial and gracious end to the suite). The suite from the opera Alceste makes a fittingly rich finale, ranging wide from the dramatic possibilities of "Echos" (track 23) to the overcast "La pompe funèbre". The playing from Jordi Savall and his band is terrific: vivid, perfectly drilled and endlessly responsive to the theatrical possibilities of this effervescent music, a feature brought to the fore by the excellent recording. --Harriet Smith
From Amazon.com
What is it that makes French baroque music so unmistakable? You only have to listen to a minute or two of this disc to recognize its nationality, even if guessing the composer is more difficult. Perhaps it's the instrumental color, as many-hued as the finest embroidered cloth; perhaps it's the juxtaposition of the most stately overtures--full of brass flourishes and dignified pomp--with the liveliest dance movements. Indeed, so French is this music in style that it's of little consequence that Lully was actually Italian-born (though French-trained). These three suites were all composed for the court of Louis XIV, a great patron of the arts and in his time an enthusiastic dancer. Le divertissement royal is as gilded and magnificently over-the-top as the Versailles festivities it was designed to celebrate (just sample the magnificent trumpets in track 11), while Le bourgeois gentilhomme was Lully's most spectacular collaboration with Molière in a form that combined music and drama (sample the Turkish ritual in track 4 or track 8, a ceremonial and gracious end to the suite). The suite from the opera Alceste makes a fittingly rich finale, ranging wide from the dramatic possibilities of "Echos" (track&nbps;23) to the overcast "La pompe funèbre." The playing by Jordi Savall and his band is terrific: vivid, perfectly drilled, and endlessly responsive to the theatrical possibilities of this effervescent music--brought to the fore by the excellent recording. --Harriet Smith
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