Jean-Marie Leclair “Sonate Pour Flûte, Gambe Et Clavecin”- Blanquart, Heinitz, Lacour (1937) скачать в хорошем качестве

Jean-Marie Leclair “Sonate Pour Flûte, Gambe Et Clavecin”- Blanquart, Heinitz, Lacour (1937)

Jean-Marie Leclair Trio for violin, viola de gamba and flute: vers 1725: Mr Gaston Blanquart, flute. ; Mlle Eva Heinitz, vle de gambe and Mme Marcelle de Lacour, clav. Recorded in Paris in 1937. In his own day and country Leclair obtained ungrudging recognition as the glory of French instrumental music in spite of his committing every conceivable breach of the national musical etiquette: With regard to Leclair, who preserves in his sonatas the national character in every trait with which he is able to embellish this genre of music, one discovers chei superiorite, his ale valike of dom, thian and execution deuble stops, bass; everything in it announces the Corelli of France.' "Preserves the national character"? Well, yes — but by an inner necessity of his being, emphatically not by any self-conscious exclusion of "alien" Italianism: for this Frenchman had the impertinence to write almost nothing but sonatas and concertos, to spurn programmatic titles and to adopt Italian (albeit misspelt) tempo-markings. A more balanced appreciation of his achievement is given by Bukofzer: "Leclair fused the outstanding virtues of two the national styles into an imaginative style of his own, unmatched in either French or Italian music. Apart from a single posthumous sonata, four volumes of works for the trio ensemble by Leclair were published between 1730 and 1753. "The most distinguished, advanced, and virtuosic writing is certainly to be found in the 'solo' rather than in the more purely diversional, duo or 'trio' sonatas."' Here, more than anywhere else, we find the masterly counterpointing that placed him beside Handel and the Bachs in Marpurg's treatise, the exacting attention to thoroughbass that made him the model of French practice in Arnold's study: in short, Leclair the great craftsman-composer, undistracted by his pursuit of violin virtuosity. Mellers was impelled at times to liken Couper-in to Bach; the comparison is yet more coercive in the Leclair trios. Citations and further reading: Nutting, Geoffrey. “Jean-Marie Leclair, 1697-1764.” The Musical Quarterly 50, no. 4 (1964): 504–14. http://www.jstor.org/stable/740959. This video is purely for educational purposes. I do not intend to monetize this video.