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    Some typical programs...

Virtuoso sonatas, diminutions and improvisations in Italy from the end of the 16th through the start of the 17th century. Virtuoso cornetto players were highly sought after for their aptitude in improvisation. François I introduced cornetto players to the ranks of the musicians of the Kings’ Chamber. Almost all his cornetto players seem to have been Italian. This programme juxtaposes the improvisatory repertoire of the 16th century with music written after 1600. The high virtuosity of the Renaissance period borders on the new affects of the modern music known as “stylus fantasticus”.

		Excerpt from « La Cesta », Pandolfi-Mealli (1’49")
		Excerpt from « Susanne un jour », Lassus – Bassano (1’29)
		Excerpt from « Io son ferito », Palestrina – Bovicelli (1’57)
		Excerpt from « Une jeune fillette », traditional (2’13)

Variant : Canzon per l’organo

Italian-Austrian Music at the Court of “Le Roy Soleil “

Sonatas for cornetto and violin extracted from the manuscript « Rost »

This manuscript, bought by Abbot Brossard from the heirs of the Canon Rost, then offered to Louis XIV in exchange for a life pension, testifies to the French passion for Italian and Austrian music. It reveals as much unknown music as compositions whose quality is attested to by their presence in other collections as well by many reprintings. This programme is typical of the virtuoso repertoire shared by violins and cornettos in the 17th century.

Sonatas of Merula, Cazzati, Bertali, Stoss, Schmelzer and Rosenmüller

Cornetto, violin, 2 keyboards, theorbo: 
4 to 5 musicians according to the place 3 musicians with church organ

		Excerpt from« La Catarina », Tarquinio Merula (1’40 )
		Excerpt from « Sonate a due », Johann Rosemüller (2’29)
		Excerpt from « Passacaille », Maurizio Cazzatti (1’36)
		Excerpt from « Chaconne », Maurizio Cazzatti (1’45)

Variants : other programms with cornetto and violin continuo from the Rost manuscript
Program with cornetto and violin San Marco

Dietrich Buxtehude

Preludes, Fantasies, Ciaconas, Fugues and Sonatas

Church organ, cornetto and sackbut : 3 musicians

Excerpt from « Sonate en Si b », opera I (3’57)

Variants : Motets and Sonatas with soprano from Buxtehude
Sonatas and Stylus Fantasticus: Bertali and Buxtehude
Program Schütz and Rosenmuller

Music at San Marco

Berardi wrote in 1689: “The Masters of the Renaissance only had one style and one practice. The modern Masters have three styles: church, chamber and theatre, and two ways of composing: the prima and the seconda practica”. This program evokes the introduction of the “stile moderno”, which means new vocal and instrumental church music.This repertoire plunges the listener into the sources of baroque music and the refinement of music from the Venitian offices.

Motets from Monteverdi, Grandi, Donati and sonatas from Castello, Fontana and Scarani, collaborators of Monteverdi at the Basilica San Marco

		Excerpt from « Salve Regina » Grandi (1’39)
		Excerpt from « Tota Pulchra es » Alessandro Grandi (1’45)

Variant : Virgin Anthems from Maurizio Cazzati for soprano, cornett, violin, dulcian and organ

The spiritual concert in Germany in the XVIIth century

Motets and Sonatas of Samuel Scheidt, Heinrich Schütz, Johann Rosenmüller and Dietrich Buxtehude

German music takes off at the start of the XVIIth century under the impulse of some great musical personalities: some journeyed to Italy, particularly to Venice, as did Heinrich Schütz and Johann Rosenmüller. They brought back with them the keys to the “new music”. Others – Michael Praetorius, Johann Hermann Schein, Samuel Scheidt – though they also drew inspiration from Italian sources, stayed nearer to the traditional elements of German music. From the merging of style in the works of their students – Franz Tunder, Matthias Weckmann, Dietrich Becker – the new German music will emerge in the next generation with Dietrich Buxtehude and his contemporaries.

Symphonies and baroque airs for cornetto

Motets and sonatas of Berlin, Baldassare, Stradella, Bononcini, Bassani

Cornetto was played until the end of the 18th century. The instrument remained important as long as it was needed to add brilliance to secular or sacred ceremonies. This program offers a panorama of virtuoso and original music composed for cornetto in the 18th century, when this instrument starts to disappear. To be found in this programme:  A “sinfonie” in the shape of baroque concerto in three movements – one in the style of Vivaldi, one in a more gallant style; an oratorio and long serenade where the violins act as the ripieno for the cornetto, which is treated as a instrumental soloist in dialogue with the singer.

Cornett, violin, viola, sakcbut, dulcian, luthe, harpsichord/organ: 7 musicians

©    Le Concert Brisé - 2008
Texte édité par: William Dongois - Administration: Françoise Burri - Mise en Pages: Thierry Buclin