The Orchestra will also present three orchestral works, two of which are Cyprus premieres: the overture to the opera La Dame Blanche by the phenomenally successful opera composer Francois-Adrien Boieldieu and Camille Saint-Saens' baroque dances Sarabande and Rigaudon
This masked peasant stands inside a basket without a bottom* and performs the pas de rigaudon
, with strong stamps of the foot on the ground.
Solo violin and viola delivered the final lively Rigaudon
with panache and verve.
3) en Do menor (solo se conserva el rondo final) 1958-59 Suite 1) Prelude 3) Air 2) Danse 4) Rigaudon
1959 Intermezzo, en La bemol Mayor 1960 Berceuse 1960 Diez Piezas para Ninos 1961 Balada, en Re Mayor 1963 Fantasia y Fuga 1964 Impromptu "dans le style de Faure" 1964 Pasillo 1964 Toccata 1978 Pasillo (version para piano a cuatro manos 1982 Parafrasis (sobre un tema de Morales Pino) Ano de Fecha de estreno composicion 1947 7-Octubre-1955 1950 1951 2-Octubre-1954 1953 7-Octubre-1955.
This year, as usual, there is a variety of composers and works including Franck's Fantaisie en la, Fiat Lux (Dix Pieces) by Dubois, Bonnet's Variations de Concert and Lully's Rigaudon
The orchestra began with a rousing selection of Edvard Grieg's Holberg Suite, Prelude, Aria and Rigaudon
Even as late as 1805 the dancing-master Francis Peacock wrote in its defence, citing the `Loure' (Aimable vainqueur, presumably) and Isaac's Rigaudon
as worthy of study.
Highlights of the program, which was accompanied onstage by fumes Richman's excellent Concert Royal ensemble, were the opening "Dances of the Court," which showed popular dance forms of the period (minuet passepied, rigaudon
, allemande), and the subsequent "Danses Nobles," a more formal presentation of dances created for theatrical performances.
He premiered Arthur Foote's Sarabande and Rigaudon
, for oboe (or flute), viola (or violin), and piano (composed in 1921), and was likely the inspiration behind Foote arranging for viola his Melody, for violin and piano.
in A Minor by Telemann is a useful practice piece for its variety of touches (legato in one hand against staccato in the other) and precise articulation required in each hand, as well as for its strong emphasis on both five-finger scalar patterns and octave leaps in the bass.
Ever-objective, Ravel was also represented in the leaner textures of Le Tombeau de Couperin, its Prelude given at a swift tempo well coped with by the woodwind, the inner movements suavely shaped, and the concluding Rigaudon
bringing some tight, biting string articulation.
Rather less successful was Campra's Rigaudon
from Idomenee, a crashing conversation between the heavy pressure reeds but, nevertheless, a great curtain-raiser.