Michel Corrette- Sonatas For Harpsichord and Violin

Product Description Composer, publisher, teacher, organist, pedagogue, and writer, Michel Corrette's long life (1707-1795) and career encompassed most of the 18th century. Known for his many and varied works, he composed in almost every contemporary musical genre. He was the first in France to compose organ concertos, modeled after those of Handel. Corrette's use of ''concerto-style'' movements in the newly fashionable pairing of obbligato keyboard/accompanying solo instrument, show the influence of contemporary composers such as Vivaldi. Corrette explores the full range of the harpsichord - technically challenging hand crossings abound as well. The violin, although described as an accompanimental instrument, is also more than just that: Corrette skillfully uses the violin to enhance the orchestral texture and dynamic nuance of the harpsichord. Imitative writing and the interplay between the two instruments is very tight, yet playful, with the violin sharing more of a motivic and melodic role in the ensemble. The Luchkow--Jarvis Duo was formed by Paul Luchkow and Michael Jarvis in 2007 to explore sonata repertoire for violin and keyboard, from the Baroque, Classical, and Romantic periods, on instruments of the time. Review While Michel Corrette's methods and writings rank alongside those by Geminiani, CPE Bach, Quantz and Tartini, fate has been less kind to his music; besides scholars, he may be best known only to cellists (and enterprising bassoonists) for whom he wrote a cello quartet and a sonata called Les délices de la solitude. Enter Canadians Paul Luchkow and Michael Jarvis to enlarge our knowledge. Written in 1742 to please the exquisite tastes of Louis XV's court, with the pastoral adventures of Marie Antoinette as their aesthetic backdrop, Corrette's six Sonates pour le clavecin avec un accompagnement de violon represented a charming update to the Baroque trio sonata. Although the title assigns a secondary role to the violin, and the harpsichord s part stands on its own, the violin adds a variety of thrilling colouristic textures and popular devices including the occasional drone of a hurdy-gurdy. And while each of the six violin sonatas has its own colourful title, the most splendid musically is the Sixth, a very un-Joycean Les voyages d Ulysse with a slow movement of remarkable invention and beauty. Luchkow and Jarvis apply the polished