Barricades Thomas Dunford & Jean Rondeau
Label: Warner Classics
Subgenre: Chamber Music
Artist: Thomas Dunford & Jean Rondeau
Composer: Francois Couperin (1668-1733), Robert de Visee (1650-1725), Michel Lambert (1610-1696), Marin Marais (1656-1728), Marc-Antoine Charpentier (1643-1704), Antoine Forqueray (1671-1745), Jean Philippe Rameau (1683-1764)
Album including Album cover Booklet (PDF)
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- François Couperin (1668 - 1733): Couperin, F: Second Livre de pièces de clavecin, Sixième Ordre
- 1Couperin, F: Second Livre de pièces de clavecin, Sixième Ordre: Les baricades mïstérieuses03:19
- Robert de Visée (1650 - 1725): De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur:
- 2De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur: I. Allemande "La Royale"02:22
- 3De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur: II. Courante I01:36
- 4De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur: III. Sarabande02:32
- 5De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur: IV. Gavotte00:50
- 6De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur: V. Chaconne03:32
- 7De Visée: Pièces de théorbe et de luth, Suite No. 7 en ré mineur: VI. Mascarade, rondeau01:13
- Michel Lambert (1610 - 1696):
- 8Lambert: Mes jours s'en vont finir03:44
- Marin Marais (1656 - 1728): Marais: Pièces de viole, Livre II, Suite No. 3 en ré majeur:
- 9Marais: Pièces de viole, Livre II, Suite No. 3 en ré majeur: Les voix humaines04:04
- François Couperin:
- 10Couperin, F: L'Art de toucher le clavecin: Premier Prélude01:24
- 11Couperin, F: Second Livre de pièces de clavecin, Septième Ordre: I. La Ménetou. Rondeau, gracieusement, sans lenteur03:34
- Marin Marais: Marais: Pièces de viole, Livre IV, Suite d'un goût étranger:
- 12Marais: Pièces de viole, Livre IV, Suite d'un goût étranger: La Rêveuse04:58
- François Couperin: Couperin, F: Troisième Livre de pièces de clavecin, Quinzième Ordre:
- 13Couperin, F: Troisième Livre de pièces de clavecin, Quinzième Ordre: II. Le Dodo ou L'Amour au berceau. Rondeau, sur le mouvement des berçeuses06:09
- Marc-Antoine Charpentier (1643 - 1704):
- 14Charpentier: Sans frayeur dans ce bois, H. 46702:56
- Jean-Henry d'Anglebert (1629 - 1691): D'Anglebert: Suite No. 3 en ré mineur:
- 15D'Anglebert: Suite No. 3 en ré mineur: I. Prélude06:06
- 16D'Anglebert: Suite No. 3 en ré mineur: VI. Sarabande Grave. Lentement04:01
- Antoine Forqueray (1671 - 1745): Forqueray, A: Pèces de viole, Suite No. 1 en ré mineur:
- 17Forqueray, A: Pèces de viole, Suite No. 1 en ré mineur: V. La Portugaise. Marqué et d'aplomb03:46
- 18Forqueray, A: Pièces de viole, Suite No. 5 en ut mineur: VI. La Sylva. Très tendrement05:48
- 19Forqueray, A: Pèces de viole, Suite No. 5 en ut mineur: VII. Jupiter. Modérément04:40
- Jean-Philippe Rameau (1683 - 1764): Rameau: Les Fêtes d'Hébé, Act I:
- 20Rameau: Les Fêtes d'Hébé, Act I: "Je vous revois" (Le Ruisseau, La Naïade)02:50
Info for Barricades
Jean Rondeau: “Both of us have grown up with this music from the cradle of our earliest infancy; […] It is music that allowed us to become what we are, while at the same time encouraging us to question things constantly. […] Now, playing the music – because, as we all know, we play rather than make music – has become a part that each of us plays, played here as a double act. Each one for himself, with his instrument as a crucible, and at the same time each of us for the other, since after all we are engaged in a performance. We don’t know how to play alone. This is the paradox of the game of music: a cross between extremely precise rules for how to play – how to read this cryptic language we spend our life deciphering, like hieroglyphs – and the magic to which it leads us – its at once organic and dreamlike dimension. This is where we find our shared expression: in a shared ordeal, we still don’t fully understand. […] Our playing goes far beyond dialogue: for us, it is not about responding to each other so much as it is about questioning and inviting our listeners to join us in this exploration with no answer or resolution. […] So we brood over this music, we play it endlessly, and we play endlessly. That is precisely what we do in this programme composed almost exclusively of rondos (refrain–verse–refrain–verse), and pieces with repeats in binary form.”
Jean Rondeau, harpsichord
Thomas Dunford, archlute
Lea Desandre, mezzo-soprano
Marc Mauillon, baritone
Myriam Rignol, viola da gamba
Born in Paris in 1988, Thomas Dunford discovered the lute at the age of nine, thanks to his first teacher Claire Antonini. He completed his studies in 2006 at the Conservatoire Supérieur de Paris (CNR), when he obtained a unanimous First Prize with honours in the class of Charles-Édouard Fantin. Thomas continued his studies at the Schola Cantorum in Basel with Hopkinson Smith, and was awarded his Bachelor’s degree in 2009. From September 2003 through to January 2005, Thomas gave his first performances playing the role of the lutenist in Shakespeare’s Twelfth Night on stage at the Comédie Française. Since then, Thomas has played recitals in New York’s Carnegie Hall and London’s Wigmore Hall, and made numerous solo or ensemble appearances in the most prestigious European festivals, including Ambronay, Arc La Bataille, Bozar, La Chaise-Dieu, Nantes, Saintes and Utrecht, and has also performed further afield in the United States, Israel, China, Japan and India.
Thomas has recorded extensively with leading ensembles including Cappella Mediterranea, Ensemble Clematis, La Serenissima, À Deux Violes Esgales, Capriccio Stravagante, Pygmalion and Arcangelo. He is attracted to a wide variety of music including jazz, and has collaborated in chamber music projects with conductors and soloists including Paul Agnew, Leonardo García Alarcón, Nicola Benedetti, Alain Buet, William Christie, Jonathan Cohen, Christophe Coin, Iestyn Davies, Bobby McFerrin, Monica Huggett, Alexis Kossenko, François Lazarevitch, Anne Sofie von Otter, Hugo Reyne, Skip Sempé and Jean Tubéry.
studied harpsichord with Blandine Verlet for over ten years, followed by training in basso continuo, organ, piano, jazz and improvisation, and conducting. He pursued further studies at the Conservatoire National Supérieur de Musique in Paris, graduating with honours, and the Guildhall School of Music and Drama in London.
In 2012, at just 21 years old, he became one of the youngest performers ever to take First Prize at the International Harpsichord Competition in Bruges (MAfestival 2012), also winning the EUBO Development Trust prize; an accolade bestowed on the most promising young musician of the European Union. The same year, he claimed second place in the Prague Spring International Harpsichord Competition (64th edition of the Festival, 2012), along with a nod for the best interpretation of the contemporary piece composed specially for that contest. In 2013, he also won the Prix des Radios Francophones Publiques.
Rondeau is in demand for solo, chamber music and orchestral appearances throughout Europe and in the United States. He frequently performs with the Baroque quartet Nevermind. Quite apart from his activities as harpsichordist, he founded the ensemble Note Forget, presenting his own jazz-oriented compositions and improvisations on piano.
Rondeau is signed to Erato as an exclusive recording artist. January 2015 sees the release of his debut solo album, Imagine, dedicated to the music of J.S. Bach on harpsichord.