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Classical - Released April 23, 2021 | Alpha Classics

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Published in Amsterdam in the mid-seventeenth century, Der Fluyten Lust-Hof ("The Garden of Flute Delights") is a collection of variations for solo flute on the "hits" of European music of the time, borrowed from such composers as Caccini, Dowland, Bull and Moulinié. Its Dutch compiler, Jacob van Eyck, was born blind. As carillonist of Utrecht Cathedral, subsequently in charge of all the city’s chimes of bells, he made fundamental advances in acoustics and bell tuning. Despite this busy activity, he also found time to play the recorder as a virtuoso, especially "to entertain strollers in the garden of St John’s Church in the evening with the sound of his little flute". It was probably the repertory built up in this context that he published under the title Der Fluyten Lust-Hof. For this recording, François Lazarevitch uses instruments characteristic of Van Eyck’s time: not only the recorder, but also and above all cylindrical transverse flutes, as well as a seventeenth-century musette. © Alpha Classics
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Celtic - Released March 1, 2016 | Alpha Classics

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Classical - Released April 1, 2014 | Alpha Classics

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Classical - Released August 25, 2017 | Alpha

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After Scottish and Irish music, airs de cour and Baroque suites and sonatas, François Lazarevitch explores Vivaldi’s music and his cargo of rare instruments. The musette de cour (a more sophisticated form of bagpipe) is used to perform Spring from The Four Seasons, in an astonishing and very convincing version transcribed by the great virtuoso wind player of the reign of Louis XV, Nicolas Chédeville. Lazarevitch himself has arranged the other Seasons for the transverse flute, following a frequent eighteenth-century practice. A new angle on these evergreen masterpieces. The rest of the programme is devoted to other favourite pieces by Vivaldi, this time originally written for flute. (c) Outhere
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Classical - Released September 23, 2010 | Alpha Classics

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Classical - Released March 18, 2013 | Alpha Classics

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The story of Robin Hood and Maid Marian has been one of England's most successful cultural exports, currently boasting Wikipedia articles in more than 60 languages, including Silesian and Indonesian. This survey of French music connected with the Robin and Marian story comes as part of a series with the perhaps unpromising title 1,000 Years of the Cornemuse in France, but actually it is about much more than that bagpipe-like instrument, and even about much more than Robin and Marian. Les Musiciens de Saint-Julien and their leader, François Lazarevitch, cover about a century of music, from the trouvère Adam de la Halle, whose Le jeu de Robin et Marion (Play of Robin and Marian) is the best-known piece here, to the intentionally highly complex music of the French and Italian composers active at the end of the 14th century. The treatment of the Robin and Marian theme became more complex as it went along and intersected with the developing genre of the pastoral and the fading theme of courtly love. Some of the pieces are risqué; the chanson Ma très gentille bergère (track 13) ingeniously uses the by then hoary device of polytextuality to construct a flirtatious dialogue between the two characters. The players and singers have a fine, tough sound throughout. On the instrumental side, Lazarevitch, relying on the work of several different arrangers, explores how these pieces might have been filtered through the stylistic distinctions of the time: "the contrasts between bas instruments and hauts instruments, soft and loud, airy sound and continuous sound, the indoor and the outdoor," as Lazarevitch puts it in the booklet. The way the simpler and more progressive Italian style filtered into French music during this period is yet another part of the picture. Bottom line: this is an exemplary release of French medieval music, equally listenable for those with nothing more than a general interest in Robin Hood and those vitally interested in how medieval musicians understood and constructed their cultural world. © TiVo
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Classical - Released April 23, 2021 | Alpha Classics

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Published in Amsterdam in the mid-seventeenth century, Der Fluyten Lust-Hof ("The Garden of Flute Delights") is a collection of variations for solo flute on the "hits" of European music of the time, borrowed from such composers as Caccini, Dowland, Bull and Moulinié. Its Dutch compiler, Jacob van Eyck, was born blind. As carillonist of Utrecht Cathedral, subsequently in charge of all the city’s chimes of bells, he made fundamental advances in acoustics and bell tuning. Despite this busy activity, he also found time to play the recorder as a virtuoso, especially "to entertain strollers in the garden of St John’s Church in the evening with the sound of his little flute". It was probably the repertory built up in this context that he published under the title Der Fluyten Lust-Hof. For this recording, François Lazarevitch uses instruments characteristic of Van Eyck’s time: not only the recorder, but also and above all cylindrical transverse flutes, as well as a seventeenth-century musette. © Alpha Classics
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Chamber Music - Released March 24, 2017 | Alpha Classics

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Classical - Released February 8, 2010 | Alpha Classics

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