A CABINET OF BAROQUE CURIOSITIES
Nowadays, the term "baroque" is not always used in its original sense. It rather imprecisely encompasses a vast period roughly spanning from 1600 to 1750, whereas in fact it should describe music that surprises, that deviates from well-trodden paths, that plays with spaces, contrasts, sounds, timbres…
IL PIANTO DI MARIA
In the sacred repertoire of the 18th century, alongside Pergolesi's famous Stabat Mater, one can find several other compositions that evoke the drama witnessed by the Virgin Mary at the foot of the cross. On the cusp of the Gospel narrative, and possessing a particularly moving theatricality, is Giovanni Battista Ferrandini's Pianto di Maria.
Coline DUTILLEUL, soprano
CLEMATIS
THE SONATAS OF DAVID POHLE
For several years, Clematis has been exploring the fascinating repertoire of Sonatas for 4 to 8 instruments by David Pohle (1624-1695), a talented pupil of Heinrich Schütz. Some of these have been included in various programs. But as these discoveries continued, the idea of recording the complete set became increasingly obvious.
THE CANTATAS OF DAVID POHLE
After focusing on the instrumental music of David Pohle and recording his complete instrumental works, Clematis is now passionate about the sacred music of this 17th-century German composer.
With his label Ricercar, whose reputation for exploring early music repertoire has been established internationally for nearly 50 years, Clematis embarked on this complete recording project. The project was undertaken in collaboration with the Grand Manège in Namur, where Clematis is currently in residence.
BACH'S SOURCES
The more one explores the German repertoire of the 17th century, the more one realizes its importance in the development of Johann Sebastian Bach. His work is indeed the legacy of a long stylistic journey whose foundations appear in the compositions of the early 17th-century masters, primarily Heinrich Schütz, who throughout his life continued to be a model for the next generation.
Paulin Bündgen, countertenor
CLEMATIS
SONATAS & PARTITAS
If we ask ourselves why Johann Sebastian Bach grouped his pieces for solo violin by bringing together "Sonatas" and "Partitas", the answer is immediately found in the works of his predecessors, and primarily in the Hortus Musicus of Johann Adam Reincken.
CLEMATIS
THREE VIOLINS FOR THREE KINGS
Today, the Consort of Viols is considered the emblematic ensemble of English music. While its use certainly continued until the mid-17th century, this current view of English musical life has overshadowed the importance of the violin during that period.
CLEMATIS
IN STILE ITALIANO
In Brescia, in the mid-16th century, the invention of the violin by luthiers such as Amati, Da Salo, and Maggini brought about a true revolution in musical life. With this perfect instrument, instrumental music took on a new dimension: the violin began to sing and move the listener, and like the voice, it soared into displays of virtuosity.
CLEMATIS
VENETIAN MIRRORS
In 2017, as part of the celebrations for Pierre Bartholomée's 80th birthday, a pair of pieces dedicated to Clematis were commissioned by the Festivals of Wallonia. Bartholomée's Toccata and Scena were included in a suite of Balli from Claudio Monteverdi's Orfeo. The juxtaposition of Monteverdi's and Bartholomée's works generated considerable enthusiasm among both the musicians of Clematis and the audience.
CLEMATIS
O JESULEIN
This highly original program proposes the creation of an imaginary Christmas Oratorio, initially composed of works by 17th-century German composers. A large portion of these works are previously unpublished and come from the extensive Düben collection housed at the Uppsala University Library.
Capucine KELLER and Julia WISCHIEWSKI, sopranos
Paulin Bündgen, countertenor
Maxime MELNIK, tenor
Philippe FAVETTE, bass
Brice SAILLY, direction
CLEMATIS
A MUSICAL EUROPE?
When discussing the development of instrumental music in 17th-century Europe, one might be tempted to say that two main forms emerged: the "Sonata" in Italy and the "Suite" in France. Enough! Nothing could be further from the truth.
CLEMATIS