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# Copyright (C) 1994 Ti Kan
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# Disc length: 4389 seconds
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DISCID=de112310
DTITLE=The Pachelbel Canon Albinoni Adagio and other Baroque Melodies /
DTITLE=Jean-Francois Paillard Chamber Orchestra
TTITLE0=Adagio (Albinoni - Arr.: Giazotto)
TTITLE1=Canon (Pachelbel)
TTITLE2=Minuet & Badinerie (J.S. Bach) (from Orchestral Suite No. 2 in B
TTITLE2= Minor, BWV 1067)
TTITLE3=Musette (Handel) (Concerto Grosso in G Minor, Op. 6, No. 6)
TTITLE4=Larghetto (Vivaldi) (Piccolo Concerto in A Minor, P.83)
TTITLE5=Adagio (Marcello) (Oboe Concerto in C Minor)
TTITLE6=Badinerie & Gigue (Corelli)
TTITLE7=Wachet auf (J.S. Bach) (Cantata "Wachet auf", BWV 140)
TTITLE8=Jesus bleibet meine Freude (J.S. Bach) (Cantata "Herz und Mund u
TTITLE8=nd Tat und Leben", BWV 147)
TTITLE9=Allegro (Vivaldi) (Violin Concerto in A Minor, Op. 3, No. 6)
TTITLE10=Adagio for Oboe, Cello and Strings (Zipoli - Arr.: F. Giovannini
TTITLE10=)
TTITLE11=Tambourins (Rameau)
TTITLE12=Air on the G String (J.S. Bach) (Orchestral Suite No. 3 in D, BW
TTITLE12=V 1068)
TTITLE13=Gavotte (Handel) (Concerto Grosso in D, Op. 6, No. 10)
TTITLE14=Andante for Strings (Molter) (Trumpet Concerto in D)
TTITLE15=Trumpet Voluntary (Clarke)
EXTD=Ask people what they like about Baroque music, and \noften they w
EXTD=ill talk about the tempo.  Many are uplifted by\nthe energetic dr
EXTD=ive of a typical Baroque allegro.  Some \nfind comfort in the dig
EXTD=nified pace of a stately minuet or\ngavotte. Others, perhaps thos
EXTD=e of a more reflective nature,\ncan lose themselves in a soulful 
EXTD=Baroque adagio.\n\nFor this recording, Jean-Francois Paillard has 
EXTD=assembled a\nselection of both familiar and lesser-known examples
EXTD= of the\nBaroque composer's art, from Albinoni to Zipoli.  While 
EXTD=the \nmusic here proceeds at many different paces, the \nadagio-lo
EXTD=ver will find the program especially rewarding.\n\nThe most famous
EXTD= Adagio in this collection may or may not\nbe by Tomaso Albinoni.
EXTD=  In this arrangement for strings and\norgan, its haunting melody
EXTD= and introspective character\nhave gained it widespread  populari
EXTD=ty, as has its \nprominence in the film Gallipoli.  A long violin
EXTD= solo, a\nsoliloquy without words, becomes the emotional center o
EXTD=f \nthis miniature musical scene.\n\nIf any one piece of music will
EXTD= be forever associated with \nJean-Francois Paillard, it is the C
EXTD=anon in D by Johann\nPachelbel.  Paillard popularized it in an ea
EXTD=rlier recording,\nand the film Ordinary People redoubled its reno
EXTD=wn.  Now\nhe interprets the Canon with subtle variations in color
EXTD= and\ndynamics, revealing new facets of this musical gem.\n\nJohann
EXTD= Sebastian Bach's Second Orchestral Suite has a \nprominent part 
EXTD=for solo flute.  The suite closes with a \ngraceful Minuet and a 
EXTD=playful Badinerie, which have \nbecome encore pieces for virtuoso
EXTD= flutists.  (The title\n"Badinerie" describes a lively, witty exc
EXTD=hange of thoughts,\nakin to the wordplay we call "badinage".)  Fu
EXTD=rther into the\ncollection comes, from the Third Orchestral Suite
EXTD=, and Aria \nthat has achieved innocent notoriety as "Air on the 
EXTD=G\nstring".\n\nGeorge Frideric Handel is best known for such choral
EXTD= works\nas Messiah, but he was no less accomplished as an\ninstrum
EXTD=ental composer.  The twelve concerti grossi \npublished as his Op
EXTD=us 6 are among the finest by any \nBaroque composer.  The Musette
EXTD= from Concerto No. 6 is a \nlittle three-part scene that opens la
EXTD=ngurously, as if \nportraying a hot summer day.  The contrasting 
EXTD=middle \nsection offers a short burst of energy - some attempt at
EXTD= \nphysical activity in the heat, perhaps - which is soon \nabando
EXTD=ned in favor of a return to relaxation.  Later in the \nprogram t
EXTD=here is a charming Gavotte from Concerto No 10.\n\nAs can be seen 
EXTD=with Bach's Minuet and Badinerie, the \ntechnique of juxtaposing 
EXTD=a solo instrument against an \nensemble frequently brought out th
EXTD=e best in the Baroque\ncomposer.  In solo appearances by the picc
EXTD=olo and oboe\nin concertos of Antonio Vivaldi and Benedetto Marce
EXTD=llo,\nthe unique characteristics of each instrument are \nexquisit
EXTD=ely exploited by those masters, who always seem\nto have reserved
EXTD= their most profound utterances for the \nwider expressive palett
EXTD=e offered by the minor keys.\n\nNo sonic picture of the Baroque is
EXTD= complete without some\nlively interludes.  Arcangelo Corelli's b
EXTD=reathless Badinerie\nand lilting Gigue are arranged from two move
EXTD=ments taken\nfrom different violin sonatas, but in their orchestr
EXTD=al guise\nthey become a refreshing pair of miniatures.  The Vival
EXTD=di\nAllegro is a movement from one of the twelve violin \nconcerto
EXTD=s known as L'estro armonico (Harmonic Invention).\nThe dance form
EXTD= called "Tambourin", often found in the \nballet music from the o
EXTD=peras of Jean-Philippe Rameau, \nfeatures strong-beat rhythms, as
EXTD= if reinforced by a tambour\n(a French drum), like a tambourine w
EXTD=ithout the jingles),\nover which is spun a lively  melody, in imi
EXTD=tation of a flute \nor other wind instrument.\n\nIn many of his can
EXTD=tatas, Bach surrounds a well-known \nchorale (hymn) melody, movin
EXTD=g at a moderate pace, by a\nfaster-moving accompaniment, which of
EXTD=ten assumes a\nmelodic character of its own.  Two of his most bea
EXTD=utiful\nchorale movements are "Wachet auf" (Sleepers, Wake) and\n"
EXTD=Jesus bleibet meine Freude" (Jesu, Joy of Man's \nDesiring).  Wet
EXTD=her the chorale is intoned by a chorus, a \nsolo instrument or a 
EXTD=small ensemble, this serene music\nremains unforgettable.\n\nFew pe
EXTD=ople have heard of Domenico Zipoli whose life as a \nJesuit monk 
EXTD=took him from his native Italy to Argentina.  \nThis Adagio, arra
EXTD=nged for oboe, cello and strings, is a \nsublime duet that, with 
EXTD=words, would easily be the high \npoint of a Baroque opera.\n\nThe 
EXTD=last two selections on this program have the trumpet \nin common,
EXTD= although the Andante by Johann Melchior\nMeltor is notable for t
EXTD=he absence of the trumpet, which\npresumably is catching its brea
EXTD=th between fast movements\nof the concerto.  Jeremiah Clarke's Tr
EXTD=umpet Voluntary,\noriginally attributed to Henry Purcell, is also
EXTD= known as \n"The Prince of Denmark's March".  Its pomp and ceremo
EXTD=ny \nepitomize the music of late 17th centyry England.\n\nThe music
EXTD= in this collection demonstrates that the Baroque\nperiod was an 
EXTD=exciting time in the development of Western\nmusic, an era when c
EXTD=omposers everywhere were writing\nmusic that, in its daring and d
EXTD=irectness, established new\nlevels of communication, not only wit
EXTD=h the listeners of their\ntime, but with those of a century far r
EXTD=emoved from their \nown.\n\n                                   -Dan
EXTD=iel Guss\n\n\nJean-Francois Paillard, conductor\n\nChristian Larde,  
EXTD=flute, piccolo\nPierre Pierlot, oboe\nJean-Luc Ramecourt, trumpet\n
EXTD=Gerard Jarry, violin\nRichard Siegel, harpsichord, organ\n\nRecorde
EXTD=d October 1989 at Eglise du Liban, Paris\n\n
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