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SONATES POUR VIOLON, OP. 20
Sonate 1704 was formed in 2003 by baroque violinist Olivier Brault with Dorothea Ventura (harpsichord) and MĂ©lisande Corriveau (bass viol), with the particular objective of exploring and promoting French music for violin and continuo. Their repertory catalog features more than 100 works, many of which have been first modern performances. 1704 refers to the year in which the first book of French violin sonatas, composed by Francois Duval, was published. While the inspiration for Op. 20, published in 1727, is clearly Italian, the fact remains that French taste intervenes through the use of figures, ornamental possibilities, rhythmic variety, and the use of dance movements such as the tender gavotte, the loure, the passepied or the sarabande.
Sonate 1704 was formed in 2003 by baroque violinist Olivier Brault with Dorothea Ventura (harpsichord) and MĂ©lisande Corriveau (bass viol), with the particular objective of exploring and promoting French music for violin and continuo. Their repertory catalog features more than 100 works, many of which have been first modern performances. 1704 refers to the year in which the first book of French violin sonatas, composed by Francois Duval, was published. While the inspiration for Op. 20, published in 1727, is clearly Italian, the fact remains that French taste intervenes through the use of figures, ornamental possibilities, rhythmic variety, and the use of dance movements such as the tender gavotte, the loure, the passepied or the sarabande.
$10.50
SONATES POUR VIOLON, OP. 20â
$10.50
Description
Sonate 1704 was formed in 2003 by baroque violinist Olivier Brault with Dorothea Ventura (harpsichord) and MĂ©lisande Corriveau (bass viol), with the particular objective of exploring and promoting French music for violin and continuo. Their repertory catalog features more than 100 works, many of which have been first modern performances. 1704 refers to the year in which the first book of French violin sonatas, composed by Francois Duval, was published. While the inspiration for Op. 20, published in 1727, is clearly Italian, the fact remains that French taste intervenes through the use of figures, ornamental possibilities, rhythmic variety, and the use of dance movements such as the tender gavotte, the loure, the passepied or the sarabande.
