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Partitions Flute ⮞ Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson ⮞ André Campra

"Forlana" from "Le Carnaval de Venise" for Woodwind Quintet
Acte IV, Scène 6
André Campra

Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson

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VoirTélécharger PDF : "Forlana" from "Le Carnaval de Venise" (Acte IV, Scène 6) for Woodwind Quintet (7 pages - 273.04 Ko)159x⬇

VoirTélécharger PDF : Basson (65.67 Ko)

VoirTélécharger PDF : English Cor (65.76 Ko)

VoirTélécharger PDF : Flûte (65.78 Ko)

VoirTélécharger PDF : French Cor (64.74 Ko)

VoirTélécharger PDF : Hautbois (65.3 Ko)

VoirTélécharger PDF : Conducteur complet (228.29 Ko)

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Télécharger MP3 : "Forlana" from "Le Carnaval de Venise" (Acte IV, Scène 6) for Woodwind Quintet 25x⬇ 238x

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Compositeur	André Campra (1660 - 1744)
Instrumentation	Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 102 Contacte Faire un don
Droit d'auteur	Public Domain
André Campra (1660 – 1744) was a French composer and conductor. He was the son of Giovanni Francesco Campra, a surgeon and violinist from Graglia, Italy, and Louise Fabry, from Aix-en-Provence. His father was his first music teacher. He was baptised on 4 December 1660 in the Église de la Madeleine in Aix. He became a choirboy in the Cathédrale Saint-Sauveur there in 1674 and commenced ecclesiastical studies four years later. He was reprimanded by his superiors in 1681 for having taken part ...(+) André Campra (1660 – 1744) was a French composer and conductor. He was the son of Giovanni Francesco Campra, a surgeon and violinist from Graglia, Italy, and Louise Fabry, from Aix-en-Provence. His father was his first music teacher. He was baptised on 4 December 1660 in the Église de la Madeleine in Aix. He became a choirboy in the Cathédrale Saint-Sauveur there in 1674 and commenced ecclesiastical studies four years later. He was reprimanded by his superiors in 1681 for having taken part in theatrical performances without permission, but was nevertheless made a chaplain on 27 May of that year. He served as maître de musique (music director) at the cathedrals of Arles and Toulouse and then, from 1694 to 1700, served in a similar capacity at the cathedral of Notre-Dame de Paris. Campra added violins to the performance of sacred music at the Paris cathedral, a controversial innovation in an era when they were considered street instruments. He began to compose for the theatre in 1697 and published some theatrical compositions under his brother's name to protect his reputation with church authorities. In 1700 he gave up his post at Notre-Dame and devoted himself to theatrical music with critical success. By 1705 he was such a musical celebrity that he became a target for negative articles in the press. In 1720, he adopted the composition of sacred music as his only profession. Although Campra had obtained critical success he lacked financial security. In 1722 he was engaged briefly as maître de musique by the Prince of Conti. After the death of the regent Philippe d'Orléans in December 1723, Campra became sous-maître at the Royal Chapel in Versailles. In 1730 he became the Inspecteur Général at the Opéra (Royal Academy of Music). He died in Versailles on 29 June 1744 at the age of 83. Campra was one of the leading French opera composers in the period between Jean-Baptiste Lully and Jean-Philippe Rameau. He wrote several tragédies en musique and opéra-ballets that were extremely well received. He also wrote three books of cantatas as well as religious music, including a requiem. Le carnaval de Venise (English: The Carnival of Venice) is a comédie-lyrique in a prologue and three acts by the French composer André Campra. The libretto is by Jean-François Regnard. It was first performed on 20 January 1699 by the Académie royale de musique in the Salle du Palais-Royal in Paris. Campra dedicated the work to Louis, Grand Dauphin, heir apparent to the French throne, who enjoyed it and had it staged again in February 1711, shortly before his death. In one critic's assessment: "In a magisterial act of conflation, this composer blends the styles of Lully, Lalande, Monteverdi and Cavalli and manages also to foreshadow Handel and Rameau. He dreamt up a multi-hued score, capable of recapturing in Paris both the carnival spirit in general and that of the legendary Venice in particular." It was presented in July 1975 at the Aix-en-Provence Festival, conducted by Michel Plasson. Jorge Lavelli directed and the cast included Christiane Eda-Pierre, Martine Dupuy, Bruce Brewer, and Roger Soyer and the Boston Early Music Festival mounted a production in June 2017. A recording with Hervé Niquet conducting Le Concert Spirituel was released in 2011. Vocalists included Salomé Haller, Marina De Liso, Andrew Foster-Williams, Alain Buet, Mathias Vidal, Sarah Tynan, Blandine Staskiewicz, and Luigi De Donato. Gramophone called it "a performance to brighten up the dullest mood". Source: Wikipedia (https://en.wikipedia.org/wiki/Andr%C3%A9_Campra) Although originally written for Opera, I created this Interpretation of "Forlana" from "Le Carnaval de Venise" (Acte IV, Scène 6) for Woodwind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon).
	Ajoutée par magataganm, 10 Oct 2020