Utwory na płycie:

• 1 Triosonaten Nr. 1-6 Nr. 5 (C-dur) - 1. Satz_ Andantino.mp3
• 1 Triosonaten Nr. 1-6 Nr. 5 (C-dur) - 1. Satz: Andantino.mp3
• 2 Triosonaten Nr. 1-6 Nr. 5 (C-dur) - 2. Satz_ Allegro.mp3
• 2 Triosonaten Nr. 1-6 Nr. 5 (C-dur) - 2. Satz: Allegro.mp3
• 3 Triosonaten Nr. 1-6 Nr. 5 (C-dur) - 3. Satz_ Fuga.mp3
• 3 Triosonaten Nr. 1-6 Nr. 5 (C-dur) - 3. Satz: Fuga.mp3
• 4 Triosonaten Nr. 1-6 Nr. 6 (D-dur) - 1. Satz_ Largo.mp3
• 4 Triosonaten Nr. 1-6 Nr. 6 (D-dur) - 1. Satz: Largo.mp3
• 5 Triosonaten Nr. 1-6 Nr. 6 (D-dur) - 2. Satz_ Allegro.mp3
• 5 Triosonaten Nr. 1-6 Nr. 6 (D-dur) - 2. Satz: Allegro.mp3
• 6 Triosonaten Nr. 1-6 Nr. 6 (D-dur) - 3. Satz_ Presto.mp3
• 6 Triosonaten Nr. 1-6 Nr. 6 (D-dur) - 3. Satz: Presto.mp3

Sonata a tre V, en do majeur
Sonata II, en sol majeur, op. 1
Sonata V, en ré majeur, op. 1
Sonata a tre II, en la mineur
Sonata I, en do majeur, op. 1
Sonata III, en si mineur, op. 1
Sonata a tre VI, en ré majeur

During the 18th century, the Italian style had an influence upon musical production in Liege, affecting both instrumental and vocal music. The establishment in 1699 of the College Liégois in Rome was to play a significant part in this process of cultural importation. Herman-François Delange, scholarships from the Darchis Foundation, was to exemplify this musical development. Particularly drawn to the Neapolitan school, he introduced its expressivity and its melodic colours to the prince-bishopric and so contributed to the establishment there of a typically Neapolitan Italianate style. He leaved us a body of work in the galant style with refined and pleasant melodies, modestly defining a bridge between the old baroque style and the advent of classicism. His few surviving works display a real talent and establish Delange as a significant figure in the development of chamber music in Belgium.

Ensemble Solstice With our period instruments, our musicological knowledge and our interpretative freedom, we present the incredibly diverse repertoire covering the period 1700-1830, from the late baroque to the rococo, from classicism to romanticism – not only Bach, Leclair and Handel, Haydn, Mozart and Beethoven, but also the Bach sons, Delange, Couperin, Godecharle, Hummel, Reicha, Danzi and so on.

Our love of tone-colour encourages us to devise programmes that mix the families of instruments – woodwinds, strings and keyboards. The ensemble has a variable line-up, ranging from two to ten players.

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