Your basket is empty

Categories :

Similar artists

Albums

From
HI-RES£16.49
CD£10.99

Chamber Music - Released February 11, 2014 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - Joker de Crescendo - Le Choix de France Musique - Hi-Res Audio
From
HI-RES£23.99
CD£15.99

Chamber Music - Released May 12, 2017 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
These Pièces de viole by Marin Marais first appeared in five volumes, dated 1686-9, 1701, 1711, 1717 and 1725 respectively. The small world of viol players was in full ferment when he published his first Livre: alongside this tradition of the solo viol there developed a highly original practice of two or three viols playing together. Furthermore, one of the great novelties of this volume is the addition of the continuo. However, the continuo part was not ready when the edition itself was published in 1686. We may therefore imagine that these pieces were also played without continuo, as is also the case with other pieces that still only exist in manuscript and that have no continuo line. We should, however, admit that the continuo adds considerable harmonic and expressive support to these pieces. The continuo part was not printed finally until 1689: ”When I gave the Public my Book of Pièces for one and two Viols, I intended to include the parts for bass continuo, for they are an essential part of it. Given, however, that music engraving is a very time-consuming enterprise, I was obliged to delay their appearance until today. I have figured them completely, so that they may be played on the Harpsichord or the Theorbo, two instruments that go very well with the solo Viol”.This Premier Livre contains 93 pieces grouped by key according to the lute and harpsichord traditions. The pieces were published following the order of the classic French Suite, i.e. Prelude and/or Fantasia, Allemande, Courante, Sarabande and Gigue, followed by the “petites danses”, Minuet, Gavotte, one or two Rondeaux and finally a Passacaglia or Chaconne. François Joubert-Caillet and his colleagues of the ensemble L'Achéron have chosen the instruments for the continuo group according to the moods and emotions of the various suites: the more intimate works use only a theorbo or a guitar, the more flowery works employ a theorbo and a guitar or archlute, while the radiant, virile and many-hued works have been allotted the harpsichord. Given the extreme length of the Suites in D minor, we have divided each of these into two suites so that they can be more easily appreciated. For the same reason, the order of the Suites on this recording does not follow the order of the 93 pieces in the Premier Livre; given that the volume was not compiled with the intention that it be either played or heard in order from start to finish, we have attempted to make the listener’sexperience as comfortable as possible with the use of contrasting colours and instrumentation.
From
HI-RES£14.99
CD£9.99

Classical - Released September 30, 2016 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica
From
HI-RES£16.49
CD£10.99

Classical - Released October 6, 2015 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or - 4 étoiles Classica
From
HI-RES£35.99
CD£23.99

Classical - Released March 19, 2021 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or
«Between the publication of the Second Book in 1701 and that of the Third Book, ten years went by, during which Marais established himself as a composer of "tragédies lyriques". In the meantime, however, a number of young viol players, some of whom had been his pupils, had just published their first collections of pièces de viole. Marais therefore had to reaffirm his position as the reigning master of the genre, a mission accomplished to perfection with this new opus, in which he strove to offer his public easier pieces alongside others that of a more demanding nature, in order to ‘satisfy those who are more advanced upon the viol’. His style had changed too: here, character pieces form an increasingly important complement to the traditional suites.» (© Ricercar)
From
HI-RES£37.49
CD£24.99

Classical - Released October 11, 2019 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or
The music of Marin Marais is now a part of the repertoire of all viola players, and here is graced with a royal visit, from Jordi Savall, on the opening track. This music displays all the melancholy of the closing years of the 17th Century, through the lens of the many pieces composed by Marais for the Chambre du Roi for which he was responsible. This Deuxième Livre de pièces de viole presented in the new album, recorded between 2015 and 2018, dates from 1701, well after the death of surintendant Lully, and during the bleak and final years of the reign of Louis XIV, who by then had become and austere religious zealot. In the Deuxième Livre, Marin Marais presents a whole catalogue of the human condition and renders moving homage to his departed masters, Lully and Sainte-Colombe. This voluminous Deuxième Livre contains no fewer than 142 pieces, ordered by key, allowing musicians to construct their suites as they please. The overall spirit is of grandeur and the monumental, with often very daring harmonies, as if Marin Marais wanted to drop them on his young competitors in the small Parisian world of viol da gamba. François Joubert-Caillet plays viola and leads the Belgian ensemble L’Achéron, made up of a bass viola and a rich continuo created by a harp, a theorbo, a guitar and a harpsichord. © François Hudry/Qobuz
From
HI-RES£16.49
CD£10.99

Classical - Released February 5, 2016 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
As a prelude to the vast enterprise represented by the release of Marin Marais’ complete five Books of Pièces de Viole, François Joubert-Caillet proposes this anthology of some of the most famous pieces that the illustrious gambist of La Chambre du Roi wrote for the delight of the Sun King’s private concerts. François Joubert-Caillet studied the viola da gamba at the Schola Cantorum Basiliensis with Paolo Pandolfo, with whom he also studied early improvisation, and also with Rudolf Lutz. Winner of the First and Audience Prizes at the Bruges International Chamber Music Competition, he gives concerts, recitals and master classes in Europe, Asia and Latin America. François Joubert-Caillet also directs L’Achéron, an ensemble with which he appears in various formations, in particular the consort of viols. L’Achéron’s CDs, devoted to Anthony Holborne’s The Fruit of Love and Samuel Scheidt’s Ludi Musici, were released by Ricercar for which François Joubert-Caillet also recorded an album in duo with Wieland Kuijken: Johanes Schenck’s Le Nymphe di Rheno.
From
HI-RES£16.49
CD£10.99

Classical - Released January 11, 2019 | Ricercar

Hi-Res Booklet
The 1735 fire that destroyed the library of Thuringia's Rudolstadt Castle was a dreadful loss: the vast majority of Philipp Heinrich Erlebach's manuscripts went up in flames, and of the thousands of works collected there, only 70 survived the blaze. These included operas, whole annual cycles of cantatas, masses and oratorios. Some copies were distributed here and there and still survive, but we can only mourn the fact that only single versions of the majority of these manuscripts existed. Well... What more can be said? Let's welcome the release of these six sonatas for trio of violin, viola da gamba and basso continuo, all played by François Joubert-Caillet's Achéron ensemble in which the leader plays the bass viola continuo. Erlebach's style and writing largely borrows from the French and Italian novelties that were taking all of Germany, Bach included, by storm. These six sonatas have a particularly Italian flavour, hinted at in the name given on the 1694 edition: "Filippo Henrico".  Virtuosity, elegance, spirit and refinement all combine making Erlebach the missing link between the early German baroque of Schein and Schütz and the great Johann Sebastian. © SM/Qobuz
From
HI-RES£28.59
CD£21.29

Classical - Released March 19, 2021 | Ricercar

Hi-Res Booklet
«Between the publication of the Second Book in 1701 and that of the Third Book, ten years went by, during which Marais established himself as a composer of "tragédies lyriques". In the meantime, however, a number of young viol players, some of whom had been his pupils, had just published their first collections of pièces de viole. Marais therefore had to reaffirm his position as the reigning master of the genre, a mission accomplished to perfection with this new opus, in which he strove to offer his public easier pieces alongside others that of a more demanding nature, in order to ‘satisfy those who are more advanced upon the viol’. His style had changed too: here, character pieces form an increasingly important complement to the traditional suites.» (© Ricercar)
From
HI-RES£16.49
CD£10.99

Classical - Released April 3, 2020 | Ricercar

Hi-Res Booklet
In his Musick’s Monument of 1676, Thomas Mace described in great detail numerous aspects of contemporary musical life in London. This volume evokes all the characteristics of English music, going back to the most glorious years of the Renaissance, with a particular emphasis on the repertory written for consort of viols. While his writings describe the performing practices of the time, they also provide invaluable information on instrument making, which has enabled L’Achéron to build a ‘set’ of six viols following Mace’s indications. For this new project of English music, the ensemble inaugurates a new virginal and an organ made in accordance with the famous theorist’s specifications. The programme comprises fantasias, ayres and dances by composers who brought this viol consort tradition to its peak, including Alfonso Ferrabosco, John Ward, William White, Thomas Lupo, Richard Dering, Giovanni Coperario, William Lawes, John Jenkins and Christopher Simpson. © Ricercar
From
HI-RES£16.49
CD£10.99

Chamber Music - Released October 27, 2017 | Ricercar

Hi-Res Booklet
Orlando Gibbons (1583-1625) was one of the most complete musicians of the Elizabethan era. He made talented contributions to every genre of vocal and instrumental music. In the domain of the fantasia for viols, he wrote for numerous combinations of between two and six instruments and elaborated endlessly inventive formal structures, in which traces of Italianism are by no means absent. L’Achéron offers us a wide selection from this repertory, which it has recorded on viols based on early seventeenth-century English models. © Ricercar
From
HI-RES£15.99
CD£12.59

Classical - Released September 30, 2016 | Ricercar

Hi-Res Booklet
From
HI-RES£15.99
CD£12.59

Classical - Released March 24, 2015 | Ricercar

Hi-Res Booklet
From
HI-RES£15.99
CD£12.59

Classical - Released January 11, 2019 | Ricercar

Hi-Res Booklet
The 1735 fire that destroyed the library of Thuringia's Rudolstadt Castle was a dreadful loss: the vast majority of Philipp Heinrich Erlebach's manuscripts went up in flames, and of the thousands of works collected there, only 70 survived the blaze. These included operas, whole annual cycles of cantatas, masses and oratorios. Some copies were distributed here and there and still survive, but we can only mourn the fact that only single versions of the majority of these manuscripts existed. Well... What more can be said? Let's welcome the release of these six sonatas for trio of violin, viola da gamba and basso continuo, all played by François Joubert-Caillet's Achéron ensemble in which the leader plays the bass viola continuo. Erlebach's style and writing largely borrows from the French and Italian novelties that were taking all of Germany, Bach included, by storm. These six sonatas have a particularly Italian flavour, hinted at in the name given on the 1694 edition: "Filippo Henrico".  Virtuosity, elegance, spirit and refinement all combine making Erlebach the missing link between the early German baroque of Schein and Schütz and the great Johann Sebastian. © SM/Qobuz
From
HI-RES£15.99
CD£12.59

Classical - Released February 11, 2014 | Ricercar

Hi-Res Booklet

Classical - Released May 12, 2017 | Ricercar

Booklet
Download not available
These Pièces de viole by Marin Marais first appeared in five volumes, dated 1686-9, 1701, 1711, 1717 and 1725 respectively. The small world of viol players was in full ferment when he published his first Livre: alongside this tradition of the solo viol there developed a highly original practice of two or three viols playing together. Furthermore, one of the great novelties of this volume is the addition of the continuo. However, the continuo part was not ready when the edition itself was published in 1686. We may therefore imagine that these pieces were also played without continuo, as is also the case with other pieces that still only exist in manuscript and that have no continuo line. We should, however, admit that the continuo adds considerable harmonic and expressive support to these pieces. The continuo part was not printed finally until 1689: ”When I gave the Public my Book of Pièces for one and two Viols, I intended to include the parts for bass continuo, for they are an essential part of it. Given, however, that music engraving is a very time-consuming enterprise, I was obliged to delay their appearance until today. I have figured them completely, so that they may be played on the Harpsichord or the Theorbo, two instruments that go very well with the solo Viol”.This Premier Livre contains 93 pieces grouped by key according to the lute and harpsichord traditions. The pieces were published following the order of the classic French Suite, i.e. Prelude and/or Fantasia, Allemande, Courante, Sarabande and Gigue, followed by the “petites danses”, Minuet, Gavotte, one or two Rondeaux and finally a Passacaglia or Chaconne. François Joubert-Caillet and his colleagues of the ensemble L'Achéron have chosen the instruments for the continuo group according to the moods and emotions of the various suites: the more intimate works use only a theorbo or a guitar, the more flowery works employ a theorbo and a guitar or archlute, while the radiant, virile and many-hued works have been allotted the harpsichord. Given the extreme length of the Suites in D minor, we have divided each of these into two suites so that they can be more easily appreciated. For the same reason, the order of the Suites on this recording does not follow the order of the 93 pieces in the Premier Livre; given that the volume was not compiled with the intention that it be either played or heard in order from start to finish, we have attempted to make the listener’sexperience as comfortable as possible with the use of contrasting colours and instrumentation.
From
HI-RES£15.99
CD£12.59

Classical - Released October 27, 2017 | Ricercar

Hi-Res Booklet
Orlando Gibbons (1583-1625) was one of the most complete musicians of the Elizabethan era. He made talented contributions to every genre of vocal and instrumental music. In the domain of the fantasia for viols, he wrote for numerous combinations of between two and six instruments and elaborated endlessly inventive formal structures, in which traces of Italianism are by no means absent. L’Achéron offers us a wide selection from this repertory, which it has recorded on viols based on early seventeenth-century English models. © Ricercar
From
HI-RES£15.99
CD£12.59

Classical - Released October 6, 2015 | Ricercar

Hi-Res Booklet
From
HI-RES£15.99
CD£12.59

Classical - Released April 3, 2020 | Ricercar

Hi-Res Booklet
In his Musick’s Monument of 1676, Thomas Mace described in great detail numerous aspects of contemporary musical life in London. This volume evokes all the characteristics of English music, going back to the most glorious years of the Renaissance, with a particular emphasis on the repertory written for consort of viols. While his writings describe the performing practices of the time, they also provide invaluable information on instrument making, which has enabled L’Achéron to build a ‘set’ of six viols following Mace’s indications. For this new project of English music, the ensemble inaugurates a new virginal and an organ made in accordance with the famous theorist’s specifications. The programme comprises fantasias, ayres and dances by composers who brought this viol consort tradition to its peak, including Alfonso Ferrabosco, John Ward, William White, Thomas Lupo, Richard Dering, Giovanni Coperario, William Lawes, John Jenkins and Christopher Simpson. © Ricercar
From
HI-RES£28.59
CD£21.29

Classical - To be released October 15, 2021 | Ricercar

Hi-Res Booklet