Genève au siècle des Lumières Florence Malgoire, Paolo Corsi & Orchestre Baroque de la HEM de Genève

• Gaspard Fritz (1716 - 1783): Symphonie en Sol majeur, Op. 6 No. 3:
• 1 Symphonie en Sol majeur, Op. 6 No. 3: I. Allegro 05:19
• 2 Symphonie en Sol majeur, Op. 6 No. 3: II. Andante allegretto 03:49
• 3 Symphonie en Sol majeur, Op. 6 No. 3: III. Presto 03:23
• Symphonie en Sol mineur, Op. 6 No. 6:
• 4 Symphonie en Sol mineur, Op. 6 No. 6: I. Allegro 04:40
• 5 Symphonie en Sol mineur, Op. 6 No. 6: II. Andante 05:32
• 6 Symphonie en Sol mineur, Op. 6 No. 6: III. Presto 02:48
• Friedrich Schwindl (1737 - 1786): Symphonie en Mi bémol majeur, Op. 10 No. 3:
• 7 Symphonie en Mi bémol majeur, Op. 10 No. 3: I. Largo - Allegro 05:33
• 8 Symphonie en Mi bémol majeur, Op. 10 No. 3: II. Andante 03:14
• 9 Symphonie en Mi bémol majeur, Op. 10 No. 3: III. Menuetto 02:40
• 10 Symphonie en Mi bémol majeur, Op. 10 No. 3: IV. Presto 03:36
• Symphonie en Do majeur, Op. 10 No. 1:
• 11 Symphonie en Do majeur, Op. 10 No. 1: I. Allegro molto 05:20
• 12 Symphonie en Do majeur, Op. 10 No. 1: II. Andante 03:40
• 13 Symphonie en Do majeur, Op. 10 No. 1: III. Rondo in Tempo di Menuetto - Grazioso 02:47
• 14 Symphonie en Do majeur, Op. 10 No. 1: IV. Allegro assai 04:02
• Nicolas Scherrer (1747-1821): Sonate "en Sinfonie" en Ré majeur, Op. 8:
• 15 Sonate "en Sinfonie" en Ré majeur, Op. 8: I. Allegro 11:09
• 16 Sonate "en Sinfonie" en Ré majeur, Op. 8: II. Rondo Andantino 04:27
• Sonate pour pianoforte et violon en Fa majeur, Op. 4:
• 17 Sonate pour pianoforte et violon en Fa majeur, Op. 4: I. Allegro 05:26
• 18 Sonate pour pianoforte et violon en Fa majeur, Op. 4: II. Rondo 06:09
• Sonate pour violoncelle et pianoforte en Si bémol mineur, Op. 5:
• 19 Sonate pour violoncelle et pianoforte en Si bémol mineur, Op. 5: I. Adagio 01:48
• 20 Sonate pour violoncelle et pianoforte en Si bémol mineur, Op. 5: II. Allegro 05:46
• Friedrich Schwindl: Duo pour violon et violoncelle en Si bémol majeur, Op. 6:
• 21 Duo pour violon et violoncelle en Si bémol majeur, Op. 6: I. Allegro moderato 04:21
• 22 Duo pour violon et violoncelle en Si bémol majeur, Op. 6: II. Adagio - Presto 04:07
• Gaspard Fritz: Sonate pour violon et basso continuo en Si bémol majeur, Op. 3:
• 23 Sonate pour violon et basso continuo en Si bémol majeur, Op. 3: I. Allegro 04:50
• 24 Sonate pour violon et basso continuo en Si bémol majeur, Op. 3: II. Adagio 03:40
• 25 Sonate pour violon et basso continuo en Si bémol majeur, Op. 3: III. Allegro 03:33
• Total Runtime 01:51:39

Info zu Genève au siècle des Lumières

Following the Protestant Reform of the 16th century, Geneva became a recognized intellectual and religious centre. Attracting an important community of foreign nobility, the city did not stray from European artistic trends. Itinerant musicians, amateurs and dancing masters were essential actors of the transmission of musical practices as required by proper education.

In the middle of the 17th century, Genevese amateurs, travelers and foreign nobles congregated in “music concerts”. During one of these, forty young men from good families decided, in 1717, to found a concert society that would soon have at its disposal a converted hall in the Town Hall, where, for over a century, Genevese musicians and passing artists would perform. The city could now count on an orchestra, imperative for the interpretation of the contemporary repertoire, but also for welcoming important hosts, celebrating a royal birth or wedding in France, and shortly for playing fashionable comic operas. Whereas the theatre piqued the ire of moralists, music was never disputed. Furthermore, from the dawn of the 18th century, clergymen supported initiatives to establish music schools and even considered the rehabilitation of organs in churches.

Far from limiting itself to patrician salons, musical practice spread amongst the middle class and the world of well-to-do artisans, offering work opportunities to music and dance masters, instrument makers, even music engravers. Geneva’s geographical situation, at the cross-roads of the great European routes, as well as its prosperity, account for the visit of well-known musicians who found here an opportunity to play for or teach amateurs who, if the high quality of certain musical libraries is to go by, were very well informed about music of their time. Coming from various countries and cultures, these musicians brought their cultural knowledge and artistic language to local artists, thus contributing to the development of a flourishing musical life on par with the great European stylistic trends.

Florence Malgoire, violin, direction
Paolo Corsi, piano
Le Harmoniche Sfere
Orchestre Baroque de la Hem de Geneve

Keine Biografie vorhanden.

Dieses Album enthält kein Booklet