{"title":"Michel Corrette","description":"\u003cp\u003eBrowse albums and recordings associated with Michel Corrette in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"l-uccellaja-mario-folena-roberto-loreggian-francesco-galligioni","title":"L’Uccellaja | Mario Folena, Roberto Loreggian, Francesco Galligioni","description":"\u003cp\u003e\u003cstrong\u003eL’Uccellaja\u003c\/strong\u003e. Twenty works from the seventeenth and eighteenth centuries inspired by birdsong, for traverso, flauto d’amore, harpsichord and strings.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD361CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD361\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eMario \u003cstrong\u003eFOLENA\u003c\/strong\u003e, traverso, flauto d’amore\u003cbr\u003eRoberto \u003cstrong\u003eLOREGGIAN\u003c\/strong\u003e, harpsichord\u003cbr\u003eFrancesco \u003cstrong\u003eGALLIGIONI\u003c\/strong\u003e, cello, viola da gamba\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eTraverso 1 - Martin Wenner, copy of Carlo Palanca\u003c\/li\u003e\n\u003cli\u003eTraverso 2 - Federico Xiccato, copy of Chevalier\u003c\/li\u003e\n\u003cli\u003eFlauto d’amore in A - Federico Xiccato, copy of Dejardin\u003c\/li\u003e\n\u003cli\u003eFlauto d’amore in A flat - Giovanni Tardino, copy of Giuseppe Panormo\u003c\/li\u003e\n\u003cli\u003eCello - Cremona, late 17th century\u003c\/li\u003e\n\u003cli\u003eViola da gamba - Paolo Biordi, Ortimino, 2018 (from Michel Colichon, Paris, 1691)\u003c\/li\u003e\n\u003cli\u003eHarpsichord - Florindo Gazzola, copy of Anonymous Italian 17th century\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eDigital\/analogue recording in direct sessions without an audience in the Main Hall, Villa Masiero e Centanin, Arquà Petrarca, on 8 and 9 May 2023. Analogue mix and mastering at VL Studio, Náquera, Spain, on 11 and 12 May 2023.\u003c\/p\u003e\u003cp\u003eRupert Neve Design Summing Mixing Console; Maselec MLA-2 \/ MEA-2 \/ MPL-2; Studer A810.\u003c\/p\u003e\u003cp\u003eProduction: Marco Lincetto \/ Massimo Corvino Consulting\u003cbr\u003eExecutive producer: Marco Lincetto\u003cbr\u003eMusical production: Marco Lincetto\u003cbr\u003eBalance, recording, mix and mastering: Marco Lincetto\u003cbr\u003eEditing: Matteo Costa\u003cbr\u003ePhotographs: Musicians’ Archive\u003cbr\u003eCover graphics and layout: L’Image\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cul\u003e\n\u003cli\u003e1. Georg Philipp Telemann (1681–1767)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eAria “Flieg hin flieg hin” and Minuet for harpsichord and cello - 01:39\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e2. Louis-Claude Daquin (1694 - 1772)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Le Coucou” for traverso1 and harpsichord - 02:13\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e3. Michel Corrette (1707 - 1795)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Le Coucou” for flauto d’amore in A and basso continuo (cello and harpsichord) 02:06\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e4. Anonymous Italian (17th century)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Capriccio fatto sopra il Cucchù” for harpsichord - 04:17\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e5. Antoine Dornel\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“L’hirondelle” for traverso2 and basso continuo (viola da gamba and harpsichord) - 03:14\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e6. Louis-Claude Daquin (1694 - 1772)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“L’hirondelle” for harpsichord - 03:16\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e7. François Philidor (1689 - 1717)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“L’hirondelle” for traverso2 and basso continuo (viola da gamba and harpsichord) - 01:07\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e8. Baldassare Galuppi (1706 - 1785)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eFrom the opera “Sirbace“ “Qual colomba afflitta” for traverso1 and basso continuo - 03:33\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e9. Antonio Vivaldi (1678 - 1741)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eFrom Cantata RV 659 “Indarno cerca la Tortorella” for flauto d’amore in A flat and basso continuo (cello and harpsichord) - 03:41\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e10. Georg Friedrich Händel (1685 - 1759)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eFrom the opera Acis and Galatea“As when the dove laments” for traverso1 and basso continuo (cello and harpsichord) - 03:43\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e11. Johann Heinrich Schmelzer (1623 ca. - 1680)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“La gallina” for traverso2 and basso continuo (cello and harpsichord) - 02:47\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e12. Alessandro Poglietti (? - 1683)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Il gallo e la gallina” for harpsichord - 05:06\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e13. Anonymous 18th century\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eFrom “The Delightful Pocket Companion for the Flute” London: Robert Bremnen, undated “Polonese” for flauto d’amore in A - 03:14\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e14. Jean-Baptiste de Bousset - Jacques Hotteterre (1662 - 1725) (1680 ca - 1761 ca)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eAria: “Pourquoy, doux rossignol” for traverso2 and basso continuo (viola da gamba and harpsichord) - 02:49\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e15. Antonio Vivaldi (1678 - 1741)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eFrom Cantata RV 796 “Usignoletto bello” for traverso1 and basso continuo (cello and harpsichord) - 03:04\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e16. Francesco Bartolomeo Conti (1681 - 1732)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eAria: “L’augellin trà verdi fronde” for traverso1 and basso continuo (cello and harpsichord) - 02:54\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e17. Alessandro Speranza (1728 - 1797)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Divertimento per cembalo in cui si esprime una Uccellaja” for harpsichord - 04:13\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e18. Joseph Bodin de Boismortier (1689 - 1755)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Ramage” for flauto d’amore in A - 04:03\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e19. Jacques-Christophe Naudot (1690 ca. - 1762)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e“Chant d’oiseaux” for traverso1, cello and basso continuo - 03:34\u003c\/div\u003e\u003cul\u003e\n\u003cli\u003e20. Antonio Vivaldi (1678 - 1741)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003eCantabile from Concerto op. X no. 3 “Il Gardellino” for traverso1 and basso continuo (cello and harpsichord) - 03:11\u003c\/div\u003e\u003cp\u003e \u003cstrong\u003eTotal Time - 63:55\u003c\/strong\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTo celebrate the beauty and inspiration of bird song: this is the aim of this anthology of 17th and 18th-century compositions dedicated to the voices of winged creatures. The CD takes its title from Alessandro Speranza's Divertimento per cembalo in cui si esprime una Uccellaja and includes 20 carefully selected baroque and rococo pieces.\u003c\/p\u003e\n\u003cp\u003eThe first piece, a previously unreleased page by G. Ph. Telemann, opens with two notes (D - B) that repeat, enunciating the cuckoo's call. This incisive musical motif, capable of being etched into our auditory memory, introduces the following tracks, dedicated in order to: cuckoo, swallow, turtledoves and doves, roosters and hens, nightingale, various songbirds\u003cbr\u003eand goldfinch.\u003c\/p\u003e\n\u003cp\u003eBetween the 17th and 18th centuries, it was common in French instrumental suites (but also in German ones) to find movements with a title having a specific programmatic intent. From these suites (composed by Daquin, Corrette, Philidor, Schmelzer, Boismortier and Naudot) come the pieces dedicated to bird song. And many Italian musicians, such as Poglietti and Speranza, were also inspired by bird song: three pages of great expressive power for solo harpsichord by these composers and an Anonymous one are presented.\u003c\/p\u003e\n\u003cp\u003eGaluppi's aria Qual colomba afflitta has come down to us only in instrumental form. It is part of a weighty collection of opera arias, published in London in the mid-18th century by John Walsh, selected and transcribed for traverso and basso continuo by Carlo Maria Broschi (1705-1782), the famous castrato known as \"il Farinelli\". At the time, it was still common practice to perform vocal compositions - such as opera arias or those from cantatas, French brunettes or boat songs - in simple instrumental form, as was done in the Renaissance era: a deep-rooted traditional practice with which it was also decided to perform Vivaldi's arias Usignoletto bello and Conti's L’augellin trà verdi fronde. Handel's piece As when the dove laments, on the other hand, belongs to a collection of transcriptions for traverso and harpsichord, also published by J. Walsh in London.\u003c\/p\u003e\n\u003cp\u003eWithin this free performing style also falls the aria Porquoy doux rossignol by the composer Jean-Baptiste de Bousset (1662 - 1725), a very popular piece at the court of the Sun King. It is a magnificent aria that Jacques Hotteterre transcribed for traverso and basso continuo, contributing to its fame and dissemination.\u003c\/p\u003e\n\u003cp\u003eThe Delightful Pocket Companion for the Flute, from which the Polonese by an unknown author performed here on the flauto d’amore is taken, is a pocket vademecum in several volumes published in London - undated - by Robert Bremnen. It contains hundreds of original and transcribed pieces for the numerous amateur flutists, who were increasingly eager for repertoire for their instrument. The theme of this Polonese, a Polish dance movement in three-quarter time, is the clucking of a hen, so much so that with a play on words it could be renamed Pollonese.\u003c\/p\u003e\n\u003cp\u003eThe CD concludes with the famous Cantabile from Concerto Op. X no. 3 \"Il Gardellino\" by Antonio Vivaldi, whose pure and linear melody is embellished in this CD, during the ritornelli, in the same capricious spirit as Alessandro Speranza's piece: and so, in addition to the typical arpeggiated call of the goldfinch, one can hear the imitation of a myriad of chirping birds, a tribute to the greatness of Nature, with a triumph of notes and sounds that aims to transport us into a world of emotions and beauty.\u003cbr\u003e\u003cstrong\u003eMario Folena\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px\" border=\"0\" height=\"370px\" src=\"https:\/\/velutluna.lnk.to\/L-uccellaja\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":49988463690075,"sku":"CVLD361CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":47464153743707,"sku":"CVLD361","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/VELUTLUNACVLD361-cover.jpg?v=1702924525"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/michel-corrette.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}