安东尼·福克赖(Antoine Forqueray, 1672-1745)，法国低音维奥尔琴演奏家、作曲家，5岁就对路易十四献艺，1689年以维奥尔琴演奏家身份进宫廷供职，是当时最伟大的维奥尔琴演奏家，作有300首维奥尔琴演奏曲。他的儿子让-巴普蒂斯特·福克赖(3 April 1699 – August 1782)也是维奥尔琴演奏家和作曲家，也是亨丽埃特的老师。
路易十五1725年9月4日与波兰公主玛丽·蕾岑斯卡(Marie Leszczyńska, 1703-1768)结婚，育有二子八女，其中第二个女儿（双胞胎中的妹妹）即为安妮·亨丽艾特(Anne Henriette de France, 1727年8月14日-1752年2月10日)。亨丽艾特未婚，不到25岁时因天花亡故，也是著名的维奥尔琴炫技专家，故本专辑取名为“亨丽埃特-维奥尔琴公主”，以此向亨丽埃特致敬。
The twins were born at the Palace of Versailles on 14 August 1727. She was the younger of the twins and as a result was known at the court of her father as Madame Seconde. As the daughter of the king, she was a fille de France. In her later life she was known as Madame Henriette.
While her younger sisters were sent to be raised at the Abbey of Fontevraud in 1738, Henriette was raised in Versailles. She was put in the care of Marie Isabelle de Rohan, duchesse de Tallard. She spent her childhood at Versailles with her sisters Louise-Élisabeth and Adélaïde and their younger brother, the Dauphin of France. Henriette died of smallpox in 1752 at the age of twenty-four. She was buried at the Basilica of Saint Denis. Her tomb, like other royal tombs at Saint-Denis, was desecrated during the French Revolution.
Henriette was passionate about music, as Jean-Marc Nattier's portrait shows. She studied the viola da gamba with Jean-Baptiste Forqueray (3 April 1699 – August 1782).
Henriette was a daughter of the King of France, Louis XV, and was a great viola da gamba virtuoso. It's a recording of french music of the first half of the 18th century by composers as Marin Marais, Caix d'Hervelois and Jean Baptiste Forqueray. Join Maddalena and discover this musical homage to the princess of the viol, Henriette of France.
Maddalena Del Gobbo (http://www.maddalenadelgobbo.com/) 玛塔莲娜·德尔·戈博
Maddalena was born in Italy and started studying music at a very early age. At the age of four, she began learning the piano and gradually added the cello and singing to her musical repertoire. Years later, at the age of 13, her musical talent brought her to Vienna, where she studied the cello at the “Konservatorium Wien”. She first came in contact with the viola da gamba when she entered a record shop in the heart of Vienna and was mesmerized by an enchanting sound she would never forget.
She still finished her studies as a cellist, received a MA and performed in many concert halls as a soloist and chamber musician. All this time, she never forgot the viol and secretly honed her skills until, one day, she decided to make the viol her focal point and to dedicate her life to baroque music.
In 2012, this dedication brought her to the final of the international competition “Principe Francesco Maria Ruspoli” in the category viola da gamba. Maddalena was also a jury member at an international competition in Italy and appeared on stages in Europe and China. Apart from playing baroque music, she is also very interested in research on this era.
Charity work is very important for Maddalena. She is founding president of the “Juvenilia Club Wien”, which supports several charity organizations and advocates women rights all over the world."
Maddalena also supports the “Sterntalerhof”. This is a non-profit organization, which offers help and a place to stay for terminally ill children and their families, to spend the last part of their life in a dignified way, supported by therapists, specially trained therapy horses and surrounded by nature.
…NOT the "grandmother" of the cello
"I have the feeling that the sound of the viol can heal and calm, and I love the idea that maybe I can help people in the audience to forget their troubles and can brighten their day."
People often ask me what are the differences between the cello and the viola da gamba. For the audience, the two instruments look very similar, but indeed they are really quite different. Cellists can not automatically play the viola da gamba, and neither can viol players automatically play cello.
Tracklist:
Marin Marais (1656-1728) 马林·马莱斯
01. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Prelude Nr. 23
02. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Caprice Nr. 27
03. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Allemande Nr. 24
04. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Gavotte Nr. 25
05. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Gigue Nr. 26
06. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Muzette Nr. 28 & Nr. 29
07. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : La Sautillante Nr. 30 & Double Nr. 31
08. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : Rondeau Louré Nr. 32
09. Suite en sol majeur: Pièces a une et a deux Violes (Troisième Livre) : Prelude Nr. 92
10. Suite en sol majeur: Pièces a une et a deux Violes (Troisième Livre) : Allemande Nr. 94
11. Suite en sol majeur: Pièces a une et a deux Violes (Troisième Livre) : La Muzette Nr. 105
12. Suite en sol majeur: Pièces a une et a deux Violes (Troisième Livre) : La Guitare Nr. 107
13. Suite en sol majeur: Pièces de Viole (Deuxième Livre) : Chaconne en Rondeau Nr. 82
Louis de Caix D'Hervelois (c.1680-1759) 路易·德·凯得维路瓦
14. Quatre Suites de Pieces pour la Viole, Op. 3 : La Monguichet
15. Second Livre de Pièces de Viole avec la Basse Continue : La Toute Belle
16. Premier Livre de Pieces de Viole avec la Basse-Continuë : Plainte Nr. 54
Marin Marais (1656-1728) 马林·马莱斯
17. Suite en la mineur: Pièces à une et à trois Violes (Quatrième Livre) : L'Arabesque Nr. 80
Louis de Caix D'Hervelois (c.1680-1759) 路易·德·凯得维路瓦
18. Cinquième Livre de Pieces de Viole : Muzette L'Henriette
Jean-Baptiste Forqueray (1699-1782) 让-巴普蒂斯特·福克赖
19. Movements composed for Suite No.3 in D by Antoine Forqueray : La Du Vaucel
20. Movements composed for Suite No.3 in D by Antoine Forqueray : La Morangis
/1 
发表于 2020-1-19 16:58:56
提升卡
置顶卡