No longer content with sovereignly presiding in the Church, in the Royal Palace and at the Concert Spirituel, at the end of the 18th century, music also appropriates an increasingly popular literary genre of the age: the novel. Books, then, become the unexpected supporting medium for the practise of music. Might this be the ancestor of all audiovisual objects? This is, at least, the conviction of Trondheim Barokk and its director Martin Wåhlberg.

With Norwegian soprano Berit Solset.


GRETRY: Air de la Fauvette
MAYER: Rosier, rosier
DEVIENNE: Chant de Pedro, Hymne de la mort, Chant de guerre d’Abenhamet
PHILIDOR: Où donc est-elle, Heur et malheur, Oh mes ennuis
ANON: Barcarolle
KRUMPHOLZ: Prélude et sicilienne, Op. 2. n°6
DUNI: Divertissement
DALAYRAC: La romance d’Aline
DUMENIL: Le Petit Marmot
J. SCHMITT: Moderato