Recréation de musique
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Philippe Rameau, Jean-Marie Leclair, Georg Philipp Telemann
Label: Meridian
Magazine Review Date: 6/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
ADD
Catalogue Number: KE77114

Tracks:
Composition | Artist Credit |
---|---|
(5) Pièces de clavecin en concerts, Movement: Premier concert: |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer Music's Recreation |
Paris Quartets, 'Quadri', Movement: Concerto secondo in D, TWV43: D 1 |
Georg Philipp Telemann, Composer
Georg Philipp Telemann, Composer Music's Recreation |
(Deuxième) Récréation de musique d'une exé |
Jean-Marie Leclair, Composer
Jean-Marie Leclair, Composer Music's Recreation |
Composer or Director: Jean-Philippe Rameau, Jean-Marie Leclair, Georg Philipp Telemann
Label: Meridian
Magazine Review Date: 6/1988
Media Format: CD or Download
Media Runtime: 47
Mastering:
ADD
Catalogue Number: CDE84114

Tracks:
Composition | Artist Credit |
---|---|
(5) Pièces de clavecin en concerts, Movement: Premier concert: |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer Music's Recreation |
Paris Quartets, 'Quadri', Movement: Concerto secondo in D, TWV43: D 1 |
Georg Philipp Telemann, Composer
Georg Philipp Telemann, Composer Music's Recreation |
(Deuxième) Récréation de musique d'une exé |
Jean-Marie Leclair, Composer
Jean-Marie Leclair, Composer Music's Recreation |
Author:
Music's Recreation, for all their evident technical skill, do not interpret the music from a French point of view. In the Rameau suite they have rather high-handedly orchestrated Rameau's carefully poised textures, alternating flute and violin within movements and even doubling up, which only succeeds in ruining the sense that these are accompanied harpsichord pieces. The ensemble's tempos reveal no awareness of the original character of the dances, their rhetoric is tedious and lacklustre (dare I say Germanic?) in its emphasis on the downbeat. They consistently put tone before metrical and melodic articulation, swamping such marvellous movements as Rameau's ''La Livri'', Telemann's Affettuoso and Leclair's Sarabande. Over and over again moments of melodic nuance—particularly in the flute and violin parts—are left unshaped and deprived of grace; nothing is made of the exquisite chromatic inflections in Leclair's Chaconne, which also suffers from lack of momentum (evident elsewhere).'
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