目录
| # | 曲目 | 时长/大小 |
|---|---|---|
1 | I. Adagio e grazioso | 00:03:14 93M |
| 2 | II. Allegro assai | 00:04:04 121M |
| 3 | III. Amoroso | 00:05:04 150M |
| 4 | I. Larghetto | 00:03:00 90M |
| 5 | II. Allegro | 00:02:50 89M |
| 6 | III. Adagio | 00:02:12 64M |
| 7 | IV. Allegro | 00:03:31 108M |
| 8 | I. Allegro | 00:04:46 147M |
| 9 | II. [Siciliano] | 00:04:08 125M |
| 10 | III. Allegro assai | 00:03:56 122M |
| 11 | I. Affectuoso | 00:04:49 151M |
| 12 | II. Allegro | 00:02:50 89M |
| 13 | III. Giga | 00:02:48 88M |
| 14 | Hugar Mu Fean | 00:02:51 78M |
| 15 | Sleepy Maggy | 00:01:34 39M |
| 16 | I. O Mother what shall I do (Largo) | 00:02:00 60M |
| 17 | II. Ettrick Banks (Adagio) | 00:01:00 30M |
| 18 | III. She rose and let me in (Andante) | 00:00:44 22M |
| 19 | IV. Cromlit’s Lilt (Largo) | 00:01:32 43M |
| 20 | V. Polwart on the Green (Andante) | 00:03:40 113M |
| 21 | The Cameronian’s Rant | 00:03:21 96M |
| 22 | Up in the Morning Early | 00:03:09 87M |
| 23 | Hornpipe Compos’d for the Concert at Vauxhall, HWV 356 | 00:01:43 53M1 |
| 2 | II. Allegro assai | 00:04:04 121M |
| 3 | III. Amoroso | 00:05:04 150M |
| 4 | I. Larghetto | 00:03:00 90M |
| 5 | II. Allegro | 00:02:50 89M |
| 6 | III. Adagio | 00:02:12 64M |
| 7 | IV. Allegro | 00:03:31 108M |
| 8 | I. Allegro | 00:04:46 147M |
| 9 | II. [Siciliano] | 00:04:08 125M |
| 10 | III. Allegro assai | 00:03:56 122M |
| 11 | I. Affectuoso | 00:04:49 151M |
| 12 | II. Allegro | 00:02:50 89M |
| 13 | III. Giga | 00:02:48 88M |
| 14 | Hugar Mu Fean | 00:02:51 78M |
| 15 | Sleepy Maggy | 00:01:34 39M |
| 16 | I. O Mother what shall I do (Largo) | 00:02:00 60M |
| 17 | II. Ettrick Banks (Adagio) | 00:01:00 30M |
| 18 | III. She rose and let me in (Andante) | 00:00:44 22M |
| 19 | IV. Cromlit’s Lilt (Largo) | 00:01:32 43M |
| 20 | V. Polwart on the Green (Andante) | 00:03:40 113M |
| 21 | The Cameronian’s Rant | 00:03:21 96M |
| 22 | Up in the Morning Early | 00:03:09 87M |
| 23 | Hornpipe Compos’d for the Concert at Vauxhall, HWV 356 | 00:01:43 53M |
专辑简介
在18世纪的伦敦，音乐生活在亨德尔（Handel）的引领下经历了一场重大的变革。La Rêveuse乐团的音乐家们在他们的专辑《约1740年的伦敦：亨德尔的音乐家们》（London circa 1740: Handel\’s musicians）中，带我们回到了那个时代的伦敦。亨德尔邀请来自意大利和德国的顶级演奏家们加入他的乐团，这为英国的音乐生活带来了强大的变革风潮。此外，他的音乐作品也在这一时期广受欢迎。同时，苏格兰音乐家詹姆斯·奥斯瓦尔德的作品也在伦敦变得颇为流行。这一时期的伦敦音乐场景是多元化和开放的，不只包括了来自不同国家和风格的音乐，也吸引了来自各种不同背景的音乐家和观众。这种多元化和开放的精神，直到今天仍在伦敦的音乐文化中占有重要的地位
