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Product details :
Composer : Giovanni Bassano
Artists : The Guild of Mercenaries : Sandrine Dupé (violin), Elsa Franck (recorder and reeds), François Lazarevitch (Renaissance traverse flute), Jérémie Papasergio (reeds), Marc Wolff (archlute), Karolina Herzig (harp and harpsichord), Jean-Luc Ho (organ and harpsichord), Adrien Mabire, cornettos and direction
Program : Susanne un jour, Caro dolce ben moi, Tota pulchra es, Frais et gaillard, Ancol che col partire, Oncques Amour, Ung gay bergier, Benedicta es, La Rose, Ricercata prima, secunda terza quarta quinta sesta settima et ottava, Fantasias 18, 17, 20, 11, 8 et 5
| Susanne ung jour | ||
| Ricercata sesta |
Overview :
Giovanni Bassano (c. 1558-c. 1617) is often assumed to be a member of the great family of musicians and harpsichord makers of the same name, although this has never actually been formally confirmed. He was an Italian composer of the Venetian school and one of the major players in the development of the instrumental ensemble of Saint Mark's Basilica in Venice. In his day he was considered to be the finest cornet player of the Seicento and his legacy includes not only musical and vocal works but also a book on how to ornament and play the music of his age. In addition to this, he produced written improvisations (known at the time as “diminutions”) based on many madrigals, motets and French songs.
There are currently no cornetto recordings of his Ricercar, which appeared in the book he published in 1585, so with this project we are taking up the challenge of getting them onto record. In order to vary the instrumentation and demonstrate that these pieces were also designed to be heard in other ways, some of them are performed on the violin, the flute, the traverso and on the bassanello, an instrument invented by Bassano himself and which has something of both the cornetto and the bassoon about it.
The programme also includes nine French songs transcribed and performed with a formation made up of one or two soloists accompanied by a basso continuo made up of an archlute, a harp and a keyboard. Finally the programme is rounded off by five fantasias, thus giving an overview of Bassano’s chamber music, which is itself typical of the virtuoso work which was being produced in Northern Italy at the time whilst at the same time offering a wide variety of timbres and instrumentation.
