Corelli / Quentin / Rondeau - Flute Sonatas | RECORD STORE DAY
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DISC: 1

1. I. Adagio [02:46]
2. II. Corrente [02:52]
3. III. Largo [03:20]
4. IV. Aria [01:55]
5. Violin Sonata No. 10, Book 2 (Arr. for Flute, Viola Da Gamba and Organ) [03:22]
6. I. Adagio [02:34]
7. II. Allegro [02:26]
8. III. Vivace [01:11]
9. IV. Adagio [02:49]
10. V. Allegro [02:50]
11. Violin Sonata No. 2, Book 2 (Arr. for Flute, Viola Da Gamba and Organ) [02:49]
12. I. Allegro [02:51]
13. II. Adagio [01:49]
14. III. Aria [04:43]
15. I. Adagio [02:27]
16. II. Allegro [02:11]
17. III. Adagio [03:14]
18. IV. Allegro [01:12]
19. V. Allegro [02:40]
20. Violin Sonata No. 10, Book 3 (Arr. for Viola Da Gamba and Organ) [03:04]
21. I. Adagio [02:36]
22. II. Vivace [02:05]
23. III. Adagio [02:21]
24. IV. Vivace [01:27]
25. V. Allegro [01:46]
26. I. Un Poco Andante [02:38]
27. II. Allemanda [03:18]
28. III. Sarabanda [02:43]
29. IV. Aria [02:16

More Info:

In 1700, Corelli published his 12 violin sonatas, Opus 5, in Rome. A veritable revolution in violin technique, they won the admiration of eminent composers (Bach, Dandrieu, Couperin) and greatly influenced the French (Francoeur, Leclair, Senaillé, Quentin), who were to try their hand at this virtuoso and brilliant Italian style. At the end of the 1730s, the first six sonatas of opus 5 were "adapted to the transverse flute with the bass" by a Parisian publisher. The level of virtuosity they demanded was quite innovative at the time. This display of virtuosity is also to be found in the compositions of Jean-Baptiste Quentin, known as Le Jeune. We have very little biographical information on Quentin himself, but all his work is greatly inspired by Italian music and is heavily influenced by Corelli. Anna Besson has made the world's first recording of his sonatas, with the help of two other eminent performers of the new Baroque generation, Myriam Rignol on viola da gamba and Jean Rondeau on harpsichord