More than 300 Airs de cour (many of which today, unfortunately, lost) composed Michel Lambert (around 1610-1696) during his illustrious career, thus ensuring the musical background in the aristocratic salons at times of Louis XIV. It's Airs de cour are characterized by a direct appeal from depth of expression, which are able to raise their literary us today so little quality full appearing templates to musical jewels of refinement. Melody, bass line, harmony, metric and rhythm sets Lambert cleverly and effectively in order to create the impression of a passionate declamation. Stephan Van Dyck and his ensemble Musica Favola have therefore also takes into account the latest music and linguistic knowledge in their recording, enabling an equally impressive as authentic look in the musical salons in the age of Louis XIV. One should this expressive music love listening attentively, although or just because these emotions may seem very ciphered us today. The lover loves and suffers silently in solitude or in a discreet distance to lover. He knows how to take his complaints re always in words, to move in the hope the heart of his cruel mistress. Some pieces of the trio de la chambre and trios pour le coucher du Roi of his son Jean-Baptiste Lully round the recording perfectly.
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More than 300 Airs de cour (many of which today, unfortunately, lost) composed Michel Lambert (around 1610-1696) during his illustrious career, thus ensuring the musical background in the aristocratic salons at times of Louis XIV. It's Airs de cour are characterized by a direct appeal from depth of expression, which are able to raise their literary us today so little quality full appearing templates to musical jewels of refinement. Melody, bass line, harmony, metric and rhythm sets Lambert cleverly and effectively in order to create the impression of a passionate declamation. Stephan Van Dyck and his ensemble Musica Favola have therefore also takes into account the latest music and linguistic knowledge in their recording, enabling an equally impressive as authentic look in the musical salons in the age of Louis XIV. One should this expressive music love listening attentively, although or just because these emotions may seem very ciphered us today. The lover loves and suffers silently in solitude or in a discreet distance to lover. He knows how to take his complaints re always in words, to move in the hope the heart of his cruel mistress. Some pieces of the trio de la chambre and trios pour le coucher du Roi of his son Jean-Baptiste Lully round the recording perfectly.
