CPO
L'orfeo Blaserensemble - Dornel: Trio Sonatas Op. 3 (Complete) - Import CD
L'orfeo Blaserensemble - Dornel: Trio Sonatas Op. 3 (Complete) - Import CD
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Credits:
L'Orfeo Blaserensemble
Description:
[A Collection of Trio Sonatas for Oboe by Composers Contemporary with Rameau!] Born in 1680 in Préles, near Paris, Louis-Antoine Dornel was a French musician active during the same period as Rameau, though little is known about his life even today. Although he worked as an organist at several churches in Paris and at the Académie Française beginning in 1706, he never published a collection of organ pieces or sacred music during his lifetime. Between 1709 and 1713, he published three collections of chamber music, consisting of pieces for solo, duo, trio, and quartet that included both French-style suites and Italian-style sonatas. He continued to focus primarily on publishing secular music, releasing a collection of chamber music and the cantata *The Tomb of Clorinda* for bass in 1723, followed by his only collection of harpsichord pieces in 1731. He also served members of the French upper class as a harpsichordist and music teacher, and in his later years published a treatise on harpsichord performance. This CD features the complete Op. 3, published in 1713. This collection of trio sonatas—in which various instruments such as the flute, violin, and oboe can serve as melody instruments—takes the form of a “Sonata da Camera” (chamber sonata), a suite composed of various dance pieces. Sonatas Nos. 1, 3, and 5 follow Corelli’s tradition with a four-movement structure of “slow–fast–slow–fast,” while Sonatas Nos. 2, 4, and 6 feature an increased number of dance movements and a larger scale. While the works retain strong Italian influences—such as the use of fugues and fugato in the fast movements, the use of sustained notes in the slow movements, and the inclusion of a gigue as the final dance movement—they also incorporate characteristics of French music, such as delicate ornamentation and and the use of inegal (irregular rhythm)—and can thus be considered a prime example of the “fusion of tastes” (Les goûts réunis) between Italy and France advocated by François Couperin. (1/2) Naxos Japan
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