Philippe Grisvard

Johannes Pramsohler, Philippe Grisvard – A Cembalo certato e Violino solo (2022)
FLAC (tracks) 24 bit/48 kHz | Time – 03:28:40 minutes | 2,54 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Audax Records

Bach’s Sei Sonate a Cembalo certato e Violino solo seem to stand in isolation. In fact, however, they took up numerous suggestions from contemporaries and acted as models for Bach’s sons and pupils. Johannes Pramsohler and Philippe Grisvard expand this ground-breaking cycle with works from Bach’s circle. The result is three profound and virtuosic recitals that offer for the first time an overview of the impact of Bach’s revolutionary sonata model on his immediate successors.
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Johannes Pramsohler, Philippe Grisvard – Handel: Violin Sonata in D, HWV 371 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 11:50 minutes | 259 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Audax Records

The Violin sonata in D major (HWV 371) was composed (c. 1749-50) by George Frideric Handel, for violin and keyboard (harpsichord). Other catalogues of Handel’s music have referred to the work as HG xxvii,47; and HHA iv/4,28. This sonata represents Handel’s last piece of chamber music. The piece was not published by Walsh. The designation Opus 1 No.13 was first made in the Chrysander edition. A typical performance of the work takes about twelve minutes.
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Johannes Pramsohler, Philippe Grisvard – French Sonatas for Harpsichord and Violin (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 01:56:04 minutes | 1,40 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Audax Records

Sonatas for violin and obligato harpsichord by Guillemain, Mondonville, Corrette, Duphly, Marchand, Balbastre and Clément. Powerful, elegant, and refined – In 1740, with the op. 4 of Jean-Joseph Cassan a de Mondonville, a new genre appeared on the scene in France, a genre that was to fundamentally overturn the relationship to the harpsichord – until then a continuo instrument when it was not playing alone: the Pieces de clavecin en sonates avec accompagnement de violon.

Contrary to what the title might suggest, the two instruments engage in a dialogue as equals. Unknowingly, Mondonville imitated the Sei Suonate Cembalo certato e Violino solo that Bach had composed ten years earlier. Moreover, he introduced a thoroughly Italian flavour – certainly an echo of the concertos by Corelli and Vivadli that at the time were often heard at the Concert Spirituel. The following decade then experienced a veritable rage for this form: Corrette, Guillemain, Balbastre, and others put their visions of the theme on paper – each in a very personal manner.

The “Dream Team” (Early Music Review), made up of the two indefatigable researchers Philippe Grisvard and Johannes Pramsohler, has rediscovered this neglected part of the violin-harpsichord repertoire and now presents a captivating selection of the genre’s best works in world premiere recordings on an opulent double album.
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