℗ 2016 Chandos
| Released | March 25, 2016 |
| Duration | 1h 16m 59s |
| Record Label | Chandos |
| Catalogue No. | CHAN0810 |
| Genre | Classical (Orchestral) |
Comédie et Tragédie, Vol. 2 (Orchestral music for theatre): Charpentier - Rameau - Leclair
Tempesta di Mare
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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Suite from ‘Scylla et Glaucus’, Op. 11
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1.1
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Ouverture
Jean-Marie Leclair; Tempesta di Mare |
3:55 | |||
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1.2
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Sarabande
Jean-Marie Leclair; Tempesta di Mare |
5:55 | |||
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1.3
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Air gracieux
Jean-Marie Leclair; Tempesta di Mare |
1:13 | |||
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1.4
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Symphonie pour la descente de Vénus
Jean-Marie Leclair; Tempesta di Mare |
2:24 | |||
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1.5
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Gigue
Jean-Marie Leclair; Tempesta di Mare |
1:42 | |||
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1.6
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Passepied
Jean-Marie Leclair; Tempesta di Mare |
1:15 | |||
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1.7
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Marche de bergers et de silvains
Jean-Marie Leclair; Tempesta di Mare |
2:28 | |||
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1.8
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Air des silvains
Jean-Marie Leclair; Tempesta di Mare |
1:34 | |||
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1.9
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Passacaille
Jean-Marie Leclair; Tempesta di Mare |
4:24 | |||
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1.10
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Loure
Jean-Marie Leclair; Tempesta di Mare |
3:02 | |||
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1.11
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Premier Air de démons -
Jean-Marie Leclair; Tempesta di Mare |
1:00 | |||
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1.12
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Second Air de démons -
Jean-Marie Leclair; Tempesta di Mare |
0:57 | |||
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1.13
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Troisième Air de démons -
Jean-Marie Leclair; Tempesta di Mare |
0:52 | |||
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1.14
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Second Air
Jean-Marie Leclair; Tempesta di Mare |
3:00 | |||
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1.15
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Symphonie pour exprimer l'aboiement des monstres
Jean-Marie Leclair; Tempesta di Mare |
0:51 | |||
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Suite from ‘Le Malade imaginaire’, H 495
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1.16
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Ouverture
Marc-Antoine Charpentier; Tempesta di Mare |
1:45 | |||
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Suite from Le malade imaginaire, H. 495
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1.17
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Les Tapissiers
Marc-Antoine Charpentier; Tempesta di Mare |
1:09 | |||
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1.18
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Second Air pour les tapissiers
Marc-Antoine Charpentier; Tempesta di Mare |
0:40 | |||
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1.19
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Les Chirurgiens et apothicaires
Marc-Antoine Charpentier; Tempesta di Mare |
0:28 | |||
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1.20
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Air des révérences
Marc-Antoine Charpentier; Tempesta di Mare |
1:16 | |||
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1.21
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Entrée des Mores
Marc-Antoine Charpentier; Tempesta di Mare |
1:02 | |||
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1.22
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Ritournelle
Marc-Antoine Charpentier; Tempesta di Mare |
0:51 | |||
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1.23
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Premier Air des Mores
Marc-Antoine Charpentier; Tempesta di Mare |
1:26 | |||
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1.24
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Second Air des Mores
Marc-Antoine Charpentier; Tempesta di Mare |
0:56 | |||
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1.25
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La Fantaisie
Marc-Antoine Charpentier; Tempesta di Mare |
2:25 | |||
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Suite from ‘Les Fêtes de Polymnie’
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1.26
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Ouverture
Jean-Philippe Rameau; Tempesta di Mare |
2:38 | |||
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1.27
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Gigue
Jean-Philippe Rameau; Tempesta di Mare |
2:11 | |||
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1.28
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Ballet figuré. Gracieusement et un peu gai
Jean-Philippe Rameau; Tempesta di Mare |
1:59 | |||
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1.29
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Descente d'Oriade et d'Argélie
Jean-Philippe Rameau; Tempesta di Mare |
0:30 | |||
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1.30
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Air grave et majestueux
Jean-Philippe Rameau; Tempesta di Mare |
4:00 | |||
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1.31
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Deuxième Air vif
Jean-Philippe Rameau; Tempesta di Mare |
2:33 | |||
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1.32
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Premième Gavotte en rondeau
Jean-Philippe Rameau; Tempesta di Mare |
1:17 | |||
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1.33
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Menuets
Jean-Philippe Rameau; Tempesta di Mare |
3:56 | |||
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1.34
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Air majestueux sans lenteur
Jean-Philippe Rameau; Tempesta di Mare |
2:31 | |||
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1.35
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Chaconne
Jean-Philippe Rameau; Tempesta di Mare |
4:43 | |||
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1.36
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Air gracieux en rondeau
Jean-Philippe Rameau; Tempesta di Mare |
1:25 | |||
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1.37
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[Prelude]. Gai, sans se presser
Jean-Philippe Rameau; Tempesta di Mare |
0:42 | |||
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1.38
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Mouvement vif de chaconne
Jean-Philippe Rameau; Tempesta di Mare |
2:04 | |||
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Digital Booklet
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"... delightful music, delightfully played ..."
- Gramophone
"... this is beautiful music and it receives elegant and beautiful performances ..."
- MusicWeb International
This is the second and final volume in the Comédie et Tragédie project from Tempesta di Mare and consists of suites made up of orchestral excerpts from three dramatic works of the French stage, spanning 73 years, all highlighting the importance of dance as a part of drama. Of note on this programme is Scylla et Glaucus, the only stage work by Jean-Marie Leclair, the foremost violinist of his generation and a composer whose late opera shows the clarity of his orchestration and places its focal point on the strings, as one would expect. Les Fêtes de Polymnie is contemporary with Leclair’s opera but more forward looking in its approach, famous for the ingenuity of Rameau’s colourful orchestration, particularly evident in the overture.
96 kHz / 24-bit PCM – Chandos Studio Masters
Recording venue: Gould Recital Hall, Curtis Institute of Music, Philadelphia, Pennsylvania, USA; 8 - 10 June 2015 Executive producer: Ralph Couzens Recording producer: Rachel Smith Sound engineer: Loren Stata Editor: Rachel Smith A & R administrator: Sue Shortridge Front cover: Artwork by designer incorporating a hand-coloured etching of A Meeting of Umbrellas (1782) by James Gillray (1756 – 1815) Back cover: Photograph of Richard Stone, Gwyn Roberts, and Emlyn Ngai by Andrew Kahl Design and typesetting: Cap & Anchor Design Co. Booklet editor: Finn S. Gundersen
Recording venue: Gould Recital Hall, Curtis Institute of Music, Philadelphia, Pennsylvania, USA; 8 - 10 June 2015 Executive producer: Ralph Couzens Recording producer: Rachel Smith Sound engineer: Loren Stata Editor: Rachel Smith A & R administrator: Sue Shortridge Front cover: Artwork by designer incorporating a hand-coloured etching of A Meeting of Umbrellas (1782) by James Gillray (1756 – 1815) Back cover: Photograph of Richard Stone, Gwyn Roberts, and Emlyn Ngai by Andrew Kahl Design and typesetting: Cap & Anchor Design Co. Booklet editor: Finn S. Gundersen
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -9.37 -13.91 to -0.15 | -28.75 -35.37 to -18.33 | -25.85 -32.40 to -16.00 | 12 9 to 15 | |
| 1 | Ouverture | -9.21 | -29.10 | -26.3 | 13 |
| 2 | Sarabande | -12.10 | -31.32 | -28.7 | 11 |
| 3 | Air gracieux | -13.32 | -35.37 | -32.4 | 11 |
| 4 | Symphonie pour la descente de Vénus | -1.06 | -21.55 | -17.9 | 12 |
| 5 | Gigue | -10.04 | -28.53 | -25.9 | 12 |
| 6 | Passepied | -5.36 | -25.00 | -22.0 | 11 |
| 7 | Marche de bergers et de silvains | -12.02 | -30.77 | -28.1 | 11 |
| 8 | Air des silvains | -11.46 | -29.88 | -27.3 | 11 |
| 9 | Passacaille | -9.53 | -29.60 | -27.1 | 12 |
| 10 | Loure | -11.44 | -29.81 | -27.1 | 12 |
| 11 | Premier Air de démons - | -8.27 | -27.00 | -24.5 | 11 |
| 12 | Second Air de démons - | -6.70 | -26.10 | -24.1 | 12 |
| 13 | Troisième Air de démons - | -8.78 | -27.93 | -25.4 | 12 |
| 14 | Second Air | -13.61 | -32.13 | -29.4 | 12 |
| 15 | Symphonie pour exprimer l'aboiement des monstres | -2.97 | -23.56 | -19.5 | 12 |
| 16 | Ouverture | -12.79 | -30.00 | -27.2 | 11 |
| 17 | Les Tapissiers | -13.62 | -30.40 | -27.8 | 12 |
| 18 | Second Air pour les tapissiers | -12.28 | -30.53 | -27.7 | 10 |
| 19 | Les Chirurgiens et apothicaires | -11.07 | -29.15 | -26.3 | 10 |
| 20 | Air des révérences | -11.79 | -28.85 | -26.1 | 11 |
| 21 | Entrée des Mores | -11.66 | -30.46 | -27.7 | 12 |
| 22 | Ritournelle | -12.00 | -33.46 | -30.5 | 11 |
| 23 | Premier Air des Mores | -10.67 | -29.46 | -26.2 | 11 |
| 24 | Second Air des Mores | -10.16 | -29.30 | -25.9 | 11 |
| 25 | La Fantaisie | -9.97 | -30.03 | -27.1 | 12 |
| 26 | Ouverture | -0.15 | -23.79 | -20.7 | 14 |
| 27 | Gigue | -11.47 | -31.90 | -28.9 | 13 |
| 28 | Ballet figuré. Gracieusement et un peu gai | -13.91 | -32.84 | -30.1 | 13 |
| 29 | Descente d'Oriade et d'Argélie | -10.32 | -28.63 | -25.8 | 11 |
| 30 | Air grave et majestueux | -11.66 | -30.35 | -27.2 | 12 |
| 31 | Deuxième Air vif | -8.63 | -28.56 | -26.2 | 13 |
| 32 | Premième Gavotte en rondeau | -3.49 | -21.91 | -17.1 | 9 |
| 33 | Menuets | -11.06 | -30.32 | -27.3 | 12 |
| 34 | Air majestueux sans lenteur | -4.66 | -27.98 | -25.3 | 15 |
| 35 | Chaconne | -11.98 | -31.04 | -28.2 | 12 |
| 36 | Air gracieux en rondeau | -12.70 | -32.06 | -29.1 | 11 |
| 37 | [Prelude]. Gai, sans se presser | -0.30 | -18.33 | -16.0 | 9 |
| 38 | Mouvement vif de chaconne | -3.72 | -25.56 | -22.3 | 12 |