Mira Glodeanu: violin
James Munro: violone
Frédérick Haas: harpsichord

Programme:

François Francoeur (1698 – 1787):
Sonates a Violon seul, avec la Basse Continüe, IIe Livre:
Sonata II:
Adagio / Courente / Sarabande / Rondeau
(Paris, ca.1730)

François Francoeur (1698 – 1787):
Sonates a Violon seul, avec la Basse Continüe, IIe Livre:
Sonata VI:
Adagio / Allemande / Courante / Sarabande/Rondeau

François Couperin (1668 – 1733):
Quatrième Livre de pièces de Clavecin:
Vingt Cinquième Ordre:
La Mistérieuse / La Monflambert / Les Ombres Errantes
(Paris, 1730)

François Couperin (1668 – 1733):
Troisième Livre de pièces de Clavecin:
Quinzième Ordre:
Musète de Choisi / Musète de Taverni
(Paris, 1722)

François Francoeur (1698 – 1787):
Sonates a Violon seul, avec la Basse Continüe, IIe Livre:
Sonate X:
Adagio / Allemande / Adagio / Gavotte / Rondeau

François Couperin (1668 – 1733):
Pièces de clavecin, Premier Livre:
Second Ordre:
Les Idées Heureuses
(Paris, 1713)

François Couperin (1668 – 1733):
Troisième Livre de Pièces de Clavecin:
Quatorzième Ordre:
La Julliet
(Paris, 1722)

François Couperin (1668 – 1733):
Quatrième Livre de pièces de Clavecin:
Vingt-Deuxième Ordre:
Les Tours de Passe-passe
(Paris, 1730)

 About the Programme:

Games of shadow and light: this is one of the most appropriate, and perhaps one of the least inaccurate, definitions for what is fitting to call “Baroque Art”. The greatest musicians of the beginning of the 18th century, still borrowing from the spirit of the previous century, which is one of meditative vanity and of the most exuberant and insolent pride; the musicians of that newly-begun century experimented with new textures, with colors, and with transparencies that could contain their music, and which put us into contact in a particularly burning way with profound emotional – and essentially immaterial – intensity. Whence springs, perhaps, a title so strange as “Ombres Errantes” (Wandering Shadows). But how better to qualify these unraveled sounds, these fragments of aural light, these tissues glistening with vibratile demi-hues? Mirroring François Couperin and François Francoeur, this is the moment to taste delicious, sonorous poetries.
 

Bio

Ausonia is an ensemble of instrumentalists and singers, founded and directed by Frédérick Haas and Mira Glodeanu, committed to bringing to life the music of the 17th and 18th centuries through means of dedicated application of historical performance practices and a continued searching for the expressive possibilities inherent in this music.