- Flute, it's Bach ...
- Play oboe, resonate cantatas!
- From London to Verona, a new map of the Tendre
- A Christmas in Europe
- In the whirlwind of the Serenissima
- A four-dimensional concert
- The garden of Mr Melante
- Telemann: The Harmonischer Gottes-Dienst
- Bach for 3 or 4
- Endless Pleasure ...
- Boccherini at the court of Spain
- De Scylla à Platée, Love parties
- In Furore
- Handel in Italy
- A sacred concert at Naples
- Le Passionni dell' Anima
- Heroines of tragedy
- Giovanni Battista Pergolesi & Nicola Porpora
Three violins, viola, cello, bass viol and harpsichord
While one should avoid using the term ‘orientalism’ (which refers to a 19th-century literary and artistic movement), the public of Louis XIV’s time, and subsequently that of the Enlightenment period, displayed a strong taste for the exotic and a hankering for unfamiliar climes.
Whether in the context of philosophers such as Montaigne or later Voltaire looking to distant races for evidence to support their doctrines and theories (in this light, Molière’s well-known opera-ballet Le Bourgeois can be seen as a brilliant parody of the political motivations of the time), or simply in terms of the search for picturesque decoration, there are numerous examples, especially in 18th-century music. In 1753, the Parisian public gave an enthusiastic reception to the premiere of Jean-Philippe Rameau’s Les Indes Galantes, demonstrating the popularity of these mysterious and exotic fragrances.
Concerto comique n° 3 «les voyages du berger fortuné aux Indes orientales»
Concerto comique «les Sauvages et la Fürstenberg»
1er concert en sextuor : La Coulicam/ La Livry / Le Vesinet
Sonate « la Sultane»
6e concert en sextuor : «l’Egyptienne»
Suite de danses extraites des Indes Galantes