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Passacalle de la Follie
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Passacalle de la Follie in Bloomington, MN
Current price: $19.99
Passacalle de la Follie in Bloomington, MN
Current price: $19.99
Loading Inventory...
Size: OS
The music on this album by countertenor
Philippe Jaroussky
, keyboardist
Christina Pluhar
, and
Pluhar
's ensemble
L'Arpeggiata
might qualify as obscure, with composers ranging from the barely moderately known (
Robert de Visee
,
Marin Marais
) to all but unheard-of, except by specialists.
's aim might indeed be called specialized; she seeks to illustrate the role of the passacaglia in the French air de cour ("court air") of the 17th century. The air de cour is not a common subject for recordings in itself beyond French Baroque circles, but surprise, surprise; this is an album of great general appeal that landed on classical best-seller lists in early 2023. The key to its appeal is that
and
Jaroussky
cast an entirely new light on the music of the French court, which has the reputation of having the mood of a closed-in hothouse. The perception of the instrumental music of the era comes from the gloomy rooms of the film
Tous les matins du monde
: that of the vocal pieces from the recollections of anyone who has visited Versailles. The perceptions are not incorrect, but what
show is that the French tradition was bending under breezes coming from the south in the form of the passacaglia, here given its original Spanish name of passacalle. This dance, as it did elsewhere, introduced virtuosity into the French instrumental tradition, and there are several impressive works by
de Visee
here, handled confidently by members of
. Even a vocal piece like
Michel Lambert
's
Ma bergere est tendre et fidele
, with its conventional shepherdess text, takes on a new sensuousness. All the pieces are passacaglias or closely related to them, yet the variety of treatments ensures that the program never drags.
is the star draw here, though in truth, it is
's show, and she lives up to her reputation for delivering compelling programs. ~ James Manheim
Philippe Jaroussky
, keyboardist
Christina Pluhar
, and
Pluhar
's ensemble
L'Arpeggiata
might qualify as obscure, with composers ranging from the barely moderately known (
Robert de Visee
,
Marin Marais
) to all but unheard-of, except by specialists.
's aim might indeed be called specialized; she seeks to illustrate the role of the passacaglia in the French air de cour ("court air") of the 17th century. The air de cour is not a common subject for recordings in itself beyond French Baroque circles, but surprise, surprise; this is an album of great general appeal that landed on classical best-seller lists in early 2023. The key to its appeal is that
and
Jaroussky
cast an entirely new light on the music of the French court, which has the reputation of having the mood of a closed-in hothouse. The perception of the instrumental music of the era comes from the gloomy rooms of the film
Tous les matins du monde
: that of the vocal pieces from the recollections of anyone who has visited Versailles. The perceptions are not incorrect, but what
show is that the French tradition was bending under breezes coming from the south in the form of the passacaglia, here given its original Spanish name of passacalle. This dance, as it did elsewhere, introduced virtuosity into the French instrumental tradition, and there are several impressive works by
de Visee
here, handled confidently by members of
. Even a vocal piece like
Michel Lambert
's
Ma bergere est tendre et fidele
, with its conventional shepherdess text, takes on a new sensuousness. All the pieces are passacaglias or closely related to them, yet the variety of treatments ensures that the program never drags.
is the star draw here, though in truth, it is
's show, and she lives up to her reputation for delivering compelling programs. ~ James Manheim
The music on this album by countertenor
Philippe Jaroussky
, keyboardist
Christina Pluhar
, and
Pluhar
's ensemble
L'Arpeggiata
might qualify as obscure, with composers ranging from the barely moderately known (
Robert de Visee
,
Marin Marais
) to all but unheard-of, except by specialists.
's aim might indeed be called specialized; she seeks to illustrate the role of the passacaglia in the French air de cour ("court air") of the 17th century. The air de cour is not a common subject for recordings in itself beyond French Baroque circles, but surprise, surprise; this is an album of great general appeal that landed on classical best-seller lists in early 2023. The key to its appeal is that
and
Jaroussky
cast an entirely new light on the music of the French court, which has the reputation of having the mood of a closed-in hothouse. The perception of the instrumental music of the era comes from the gloomy rooms of the film
Tous les matins du monde
: that of the vocal pieces from the recollections of anyone who has visited Versailles. The perceptions are not incorrect, but what
show is that the French tradition was bending under breezes coming from the south in the form of the passacaglia, here given its original Spanish name of passacalle. This dance, as it did elsewhere, introduced virtuosity into the French instrumental tradition, and there are several impressive works by
de Visee
here, handled confidently by members of
. Even a vocal piece like
Michel Lambert
's
Ma bergere est tendre et fidele
, with its conventional shepherdess text, takes on a new sensuousness. All the pieces are passacaglias or closely related to them, yet the variety of treatments ensures that the program never drags.
is the star draw here, though in truth, it is
's show, and she lives up to her reputation for delivering compelling programs. ~ James Manheim
Philippe Jaroussky
, keyboardist
Christina Pluhar
, and
Pluhar
's ensemble
L'Arpeggiata
might qualify as obscure, with composers ranging from the barely moderately known (
Robert de Visee
,
Marin Marais
) to all but unheard-of, except by specialists.
's aim might indeed be called specialized; she seeks to illustrate the role of the passacaglia in the French air de cour ("court air") of the 17th century. The air de cour is not a common subject for recordings in itself beyond French Baroque circles, but surprise, surprise; this is an album of great general appeal that landed on classical best-seller lists in early 2023. The key to its appeal is that
and
Jaroussky
cast an entirely new light on the music of the French court, which has the reputation of having the mood of a closed-in hothouse. The perception of the instrumental music of the era comes from the gloomy rooms of the film
Tous les matins du monde
: that of the vocal pieces from the recollections of anyone who has visited Versailles. The perceptions are not incorrect, but what
show is that the French tradition was bending under breezes coming from the south in the form of the passacaglia, here given its original Spanish name of passacalle. This dance, as it did elsewhere, introduced virtuosity into the French instrumental tradition, and there are several impressive works by
de Visee
here, handled confidently by members of
. Even a vocal piece like
Michel Lambert
's
Ma bergere est tendre et fidele
, with its conventional shepherdess text, takes on a new sensuousness. All the pieces are passacaglias or closely related to them, yet the variety of treatments ensures that the program never drags.
is the star draw here, though in truth, it is
's show, and she lives up to her reputation for delivering compelling programs. ~ James Manheim
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