Vous voulez apprendre sans peine un danois actuel, utile, efficace. La méthode Assimil est faite pour vous! …
Découvrez l'Espagne avec nos leçons variées et pleines d'humour ! L'assimilation intuitive vous amènera en quelques mois et sans efforts superflus à la pratique de langue courante, celle parlée aujourd'hui par nos voisins espagnols. Autre plus : un appendice traitant du castillan parlé en Amérique hispanophone.
Vous voulez apprendre sans peine un danois actuel, utile, efficace. La méthode Assimil est faite pour vous!
Boccherini wrote very little vocal music; however he left two settings of the Stabat mater. It was first set in 1781 for solo soprano and strings and then in 1800 for two sopranos and tenor, obviously influenced by the hugely-popular Pergolesi Stabat mater of 1736. There are many similarities in the notation and harmony—even the same key of F minor is used. The writing is of extraordinary individuality and seems to come straight from the heart. This unjustly neglected piece is surely one of the most remarkable sacred compostions of the era.
Emanuele d'Astorga was one of the most colourful figures in early eighteenth-century music and his life has often been the subject of legend rather than fact (brief details of which can be discovered in Robert King's illuminating booklet notes). During his life, Astorga was best known for his well-written and tuneful chamber cantatas (of which more than 150 survive) and his opera Dafni (only Act 1 now survives). But by far his most enduring work has proved to be this setting of the Stabat mater, his only surviving sacred composition. Throughout it we hear Astorga's gift for writing warm melodies, typical of the Neapolitan style of the time, and how he captures the melancholy of this most desolate of sacred texts.
For today s audiences, Vivaldi s name exemplifies Venetian opera in the early 18th century but he was not the only composer to shape the distinctive musical aesthetic of the great trading city known as La Serenissima. In this release of arias by Vivaldi and his contemporaries, countertenor Max Emanuel Cencic further explores Venice s contribution to world s rich store of Baroque opera. Cencic recreates the Venetian ambiance with the support of Italian violinist/conductor Riccardo Minasi and his ensemble Il Pomo d Oro.