The 18th century was a time when deportment and noble behavior were essential for people of quality. Dance formed a major part of all social ceremonies and theatrical presentations. Nowhere was dancing more highly regarded than in France, where ballets de cour assumed great importance, and the Lullian tragedie en musique had it's counterpart in the ballet en action of the opera-ballet. The Fantaisie (1729) and Plaisirs champetres (1734) of Jean-Fiery Rebel, reflecting the differing personalities of their prima ballerinas Camargo and Salle, have been called "choreographic symphonies". Bucolic pastimes were a favorite subject for these courtly entertainments: Rameau's "heroic pastoral" Daphnis et Égle (1753) is represented by a large number of movements which illustrate it's rich orchestration and expressive depth. "Sigiswald Kuijken's Petite Bande play with brisk rhythmicality, clean-cut precision and an engaging stylishness, at the same time not ignoring dynamic contrast. Howard Crook rises to the pathos of Acis's air in Lully's "heroic pastoral", but is heard at his best in ornate fast-moving airs by Rameau." (Gramophone)
4 Que Me Peut Demander la Gloire - Howard Crook/La Petite Bande
5 I. Grave
6 II. Chaconne
7 III. Loure
8 IV. Tambourin
9 V. Chaconne
10 Tant Au'a Duré la Nuit... - Howard Crook/La Petite Bande
11 I. Musette
12 II. Gavotte
13 III. Chaconne
14 IV. Passepied
15 V. Bourrée - Rigoudon - Bourrée
16 I. Ouverture
17 II. Menuet en Rondeau
18 III. Rondeau Tendre 'Dieu de L'amitié'
19 IV. Sarabande
20 V. Gavottes 1 Et 2
21 VI. Passepieds 1 Et 2
22 Ranimez Vous - Howard Crook/La Petite Bande
23 VII. Entrée
24 VIII. Gigue
25 IX. Gavotte
26 X. Muzette
27 XI. Oiseaux, Chantez
28 XII. Pantomime
29 XIII. Menuets 1 Et 2
30 L'objet Qui Règne... - Howard Crook/La Petite Bande
31 XIV. Tambourins 1 Et 2
32 XV. Contredanse
The 18th century was a time when deportment and noble behavior were essential for people of quality. Dance formed a major part of all social ceremonies and theatrical presentations. Nowhere was dancing more highly regarded than in France, where ballets de cour assumed great importance, and the Lullian tragedie en musique had it's counterpart in the ballet en action of the opera-ballet. The Fantaisie (1729) and Plaisirs champetres (1734) of Jean-Fiery Rebel, reflecting the differing personalities of their prima ballerinas Camargo and Salle, have been called "choreographic symphonies". Bucolic pastimes were a favorite subject for these courtly entertainments: Rameau's "heroic pastoral" Daphnis et Égle (1753) is represented by a large number of movements which illustrate it's rich orchestration and expressive depth. "Sigiswald Kuijken's Petite Bande play with brisk rhythmicality, clean-cut precision and an engaging stylishness, at the same time not ignoring dynamic contrast. Howard Crook rises to the pathos of Acis's air in Lully's "heroic pastoral", but is heard at his best in ornate fast-moving airs by Rameau." (Gramophone)
