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Per crucem ad lucem.
Per crucem ad lucem.

Predilections for French and English baroque music.

After 1715, baroque music was largely forgotten. The year 1715 was the year of the death of Louis IV. Later, from about 1750, Baroque music was regarded as bombastic, overloaded, harmoniously muddled, dissonance-rich, melodically difficult and unnatural. Until 1920, nothing more was known than Antonio Vivaldi's ”The Four Seasons”.
The American William Christie heard in 1965 as a student Rameau's ”Hippolyte et Aricie”. This marked his way to his ensemble ”Les Arts Florissants” and his ”Le jardin des voix”. His engagement, his recordings and performances from Caen to Paris are simply great for me. But baroque music has been bound to me since the 1960s. Parallel to the English pop music of those famous ”60's”.

Favorite composers.

  • Eustache Du Caurroy (1549 - 1609).

  • Jaques Mauduit (1557 - 1626).

  • Etienne Moulinié (1549 - 1676).

  • John Adson (1587 - 1640).

  • Henry DuMont (1610 - 1684).

  • Gaulliaume Dumanoir (1615 - 1697).

  • Jean Baptiste Lully (1632 - 1687).

  • Marc Antoine Charpentier (1643 - 1704).

  • Pierre Bouteiller (1655 - 1717).

  • Michel Richard Delalande (1657 - 1726).

  • Henry Purcell (1659 - 1695).

  • André Campra (1660 - 1744).

  • Henry Desmarest (1661 - 1741).

  • Jean Gilles (1668 - 1705).

  • André Cardinal Destouches (1672-1749).

  • Jean-Joseph Mouret (1682 - 1738).

  • Jean Philippe Rameau (1683 - 1764).

  • François-André Danican Philidor (1726 - 1795).

  • Popular Ensembles.

  • Le Concert des Nations with Jordi Savall.

  • Les Talens Lyriques with Christophe Rousset.

  • Les Arts Florissants with William Christie.

  • Les 24 Violons du Roi with Patrick Cohën Akenine.

  • Les Musiciens du Louvre with Marc Minkowski.

  • L' Ensemble des Folies Françoises with Patrick Cohën Akenine.

  • Il Giardino Armonico with Giovanni Antonini.

  • The Sixteen with Harry Christophers.

  • Academy of Saint Martin in the Fields with Sir Neville Marriner.

  • From time to time even at the organ.

    Mainly early music and sacred music.