Ce guide vise à aider les porteurs de projets de petite centrale hydroélectrique (PCH), tant pour les aspects techniques, économiques qu’environnementaux.
It's not clear why Telemann called these works "concertos" when they are really sonatas for transverse flute and harpsichord, with no tutti instrumental group involved. Annotator Jean-Claude Thériault works up an argument that it was due to the "concerted" nature of the music, with the flute and harpsichord playing generally equal roles instead of assigning ritornello-like music to the keyboard. It's hard to say whether he's right, but it's precisely the departure from the Baroque trio sonata and concerto models that makes this music so interesting. It is strikingly modern for the late 1710s, when the first edition of the music was published.
Get ready for the shock of the new , or, in this case, the old. This disc of Beethoven concertos by keyboardist Arthur Schoonderwoerd has a highly unusual sound, even by the standards of the historical-performance movement. Performances of the Beethoven concertos in period style are rarer than those of the sonatas, which are themselves rarer than those of music by Mozart and Haydn. This is partly because the whole issue is more problematical with Beethoven, who was clearly striving toward larger dimensions.
This disc, covering Beethoven's first two piano concertos, is the last of a series of three Beethoven concerto discs by historical pianist Arthur Schoonderwoerd, playing an 1800 Walter fortepiano and accompanied by the small ensemble Cristofori. The ensemble basically involves one instrument per part. The other booklets contain more elaborate justifications for this procedure, but here the only evidence given involves the cover pages of the original publications of the concertos, which refer to the instruments in the singular.