Tags
Language
Tags
April 2024
Su Mo Tu We Th Fr Sa
31 1 2 3 4 5 6
7 8 9 10 11 12 13
14 15 16 17 18 19 20
21 22 23 24 25 26 27
28 29 30 1 2 3 4
https://canv.ai/
The picture is generated by canv.ai

We are excited to announce that Canv.ai now features a built-in translator, allowing you to communicate in your native language. You can write prompts in your language, and they will be automatically translated into English, facilitating communication and the exchange of ideas!

We value freedom of speech and guarantee the absence of censorship on Canv.ai. At the same time, we hope and believe in the high moral standards of our users, which will help maintain a respectful and constructive atmosphere.


👉 Check for yourself!

Blai Justo, Elisa Joglar, Bernard Zonderman - Juan De Ledesma: Sonatas para violin y bajo (2009)

Posted By: Designol
Blai Justo, Elisa Joglar, Bernard Zonderman - Juan De Ledesma: Sonatas para violin y bajo (2009)

Juan De Ledesma: Sonatas para violin y bajo (2009)
Blai Justo, violin; Elisa Joglar, cello; Bernard Zonderman, guitar

EAC | FLAC | Image (Cue&Log) ~ 337 Mb | Mp3 (CBR320) ~ 159 Mb | Scans ~ 58 Mb
Classical, Baroque | Label: Ramée | # RAM 0901 | Time: 01:08:40

The revival of Spanish music of the Baroque period continues moving forward into the Classical era with this premiere recording of sonatas for "violin y bajo" – violin and bass – by Juan de Ledesma. The sonatas were rediscovered only in the late 1980s, and they're very elegantly presented here in a package adorned by a reproduction of a marvelous French fan of the period. There isn't anything of earthshaking importance among the five sonatas on the disc, but they're attractive pieces with some challenges for the violinist, and both players of the instruments and those with collections of Spanish music will find the release of interest. The booklet notes by violinist Blai Justo (in English, French, and German, with Spanish and Catalan additionally available online) point to Corelli's influence, but also note the presence of the galant style of the period, and it is the latter sound, with its atmosphere of charm and its relaxed procession of contrasting two-measure phrases, that predominates. The players do well to avoid a harpsichord accompaniment, using either a combination of cello and guitar or one or the other instrument alone.