Sofia Diniz, Fernando Miguel Jalôto – L’echo Du Danube (2024) [FLAC 24 bit, 96 kHz]

Sofia Diniz, Fernando Miguel Jalôto - L'echo Du Danube (2024) [FLAC 24 bit, 96 kHz] Download

Artist: Sofia Diniz, Fernando Miguel Jalôto
Album: L’echo Du Danube
Genre: Classical
Release Date: 2024
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:47:00
Total Tracks: 40
Total Size: 2,18 GB

Tracklist:

1-01. Fernando Miguel Jalôto – Sonata No. 1 in D Major: I. Vivace – Adagio (03:26)
1-02. Fernando Miguel Jalôto – Sonata No. 1 in D Major: II. Vivace (01:04)
1-03. Fernando Miguel Jalôto – Sonata No. 1 in D Major: III. Adagio e Tremolo (01:24)
1-04. Fernando Miguel Jalôto – Sonata No. 1 in D Major: IV. Aria Largo (01:52)
1-05. Fernando Miguel Jalôto – Sonata No. 1 in D Major: V. Allegro – Prestissimo (02:32)
1-06. Fernando Miguel Jalôto – Sonata No. 1 in D Major: VI. Adagio (02:24)
1-07. Fernando Miguel Jalôto – Sonata No. 1 in D Major: VII. Allegro (01:52)
1-08. Fernando Miguel Jalôto – Sonata No. 5 in E Minor: I. Adagio (02:56)
1-09. Fernando Miguel Jalôto – Sonata No. 5 in E Minor: II. Aria Largo (03:55)
1-10. Fernando Miguel Jalôto – Sonata No. 5 in E Minor: III. Gavotta Presto (01:17)
1-11. Fernando Miguel Jalôto – Sonata No. 5 in E Minor: IV. Adagio (01:51)
1-12. Fernando Miguel Jalôto – Sonata No. 5 in E Minor: V. Giga Vivace (01:58)
1-13. Fernando Miguel Jalôto – Sonata No. 5 in E Minor: VI. Aria (05:01)
1-14. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: I. Adagio – Allegro – Adagio – Vivace – Adagio (02:59)
1-15. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: II. Allemanda (03:28)
1-16. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: III. Corrente (02:21)
1-17. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: IV. Sarabanda (03:51)
1-18. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: V. Giga (02:14)
1-19. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: VI. Gavotta 1ma (01:19)
1-20. Fernando Miguel Jalôto – Sonata No. 3 in F sharp Minor: VII. Gavotta 2da (01:29)
2-01. Fernando Miguel Jalôto – Sonata No. 2 in A Minor: I. Adagio (05:29)
2-02. Fernando Miguel Jalôto – Sonata No. 2 in A Minor: II. Giga (02:54)
2-03. Fernando Miguel Jalôto – Sonata No. 2 in A Minor: III. Corrente (04:16)
2-04. Fernando Miguel Jalôto – Sonata No. 2 in A Minor: IV. Adagio (02:56)
2-05. Fernando Miguel Jalôto – Sonata No. 2 in A Minor: V. Vivace – Largo – Vivace (06:41)
2-06. Fernando Miguel Jalôto – Sonata No. 6 in A Minor: I. Adagio – Allegro – Adagio (04:25)
2-07. Fernando Miguel Jalôto – Sonata No. 6 in A Minor: II. Presto (01:46)
2-08. Fernando Miguel Jalôto – Sonata No. 6 in A Minor: III. Adagio (01:17)
2-09. Fernando Miguel Jalôto – Sonata No. 6 in A Minor: IV. Aria Largo – Vivace – Largo – Allegro – Largo – Largo (05:20)
2-10. Fernando Miguel Jalôto – Sonata No. 6 in A Minor: V. Aria Adagio (03:27)
2-11. Fernando Miguel Jalôto – Sonata No. 6 in A Minor: VI. Giga (01:58)
2-12. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: I. Adagio (01:48)
2-13. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: II. Allegro (01:52)
2-14. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: III. Adagio (00:46)
2-15. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: IV. Prestissimo (01:23)
2-16. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: V. Allemanda (02:53)
2-17. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: VI. Corrente (02:21)
2-18. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: VII. Sarabande (02:37)
2-19. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: VIII. Giga (01:56)
2-20. Fernando Miguel Jalôto – Sonata No. 4 in E flat Major: IX. Menuetto (01:42)

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L’Echo du Danube is the poetic title Johann Schenck gave to his collection of pieces for viola da gamba, which were first published around 1703 / 04 as opus 9 in Amsterdam by Estienne Roger – the most important music printer of the time. L’Echo du Danube is the last complete work by Schenck to have survived, a fact which lends these pieces the weight of a “musical testament”. It comprises six sonatas for viola da gamba solo: the first two sonatas with basso continuo accompaniment, the next two also with basso continuo, but this time ad libitum (optional), and the last two for viola da gamba without any accompaniment. Although Marin Marais had already published his first book of pièces de viole in 1686 and the flourishing English viol tradition was well known in Northern Europe, Schenck’s approach to the instrument is an important step in the process of creating an independent repertoire written specifically for the viol by composers who were themselves performers and had mastered its idiomatic idiosyncrasies. Although Schenck fully exploits the potential of the viol as a melodic instrument, he clearly favors its possibilities for playing chords in a way that is strongly influenced by lute playing and repertoire: he tries to show the viol as a harmonically independent instrument that is suited for polyphonic writing in addition to its talent for melodic singing. This is why he wrote so distinctively: he used plenty of chords and double stops, constantly alternated between bass and treble registers and strove for an effective combination of lush harmony and depth of sound without losing sight of the viola’s delicate, cantabile voice.

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