Bruno Cocset & Les Basses Réunies
Bruno Cocset, ténor de violon, basse de violon "a la Bastarda" & direction
Emmanuel Jacques, ténor & basse de violon
Emmanuel Balssa, basse de violon
Richard Myron, violone & contrebasse
William Dongois, cornets
Xavier Diaz-Latorre, théorbe
Christina Pluhar, harpe
Luca Guglielmi & Laurent Stewart, clavecin & claviorganum
Lossless: Ape (img + cue + log) = 362 mb
Lossy: Mp3 (lame "preset standard") = 90 mb
Artwork @ 300dpi (jpg) = 30 mb
Artwork @ 300dpi (pdf) = 18 mb
Total playing time: 64:51
Recorded 2003 | Released 2004
Recording:
September 2003, Chapelle de l'hôpital Notre-Dame de Bon Secours, Paris
Alpha 053
Track listing:
1. Vigesimaquarta a Due Bassi e Canto detta la Nobile
2. Ottava a Basso Solo detta l'ambitiosa
3. Prima a 4, Canto Alto Tenor Basse Sopra Rugier
4. Seconda a Canto Solo detta la Bernardinia
5. Undecima a Due Canti detta la Plettenberger
6. Prima a 2 Bassi
7. Trigesima Quinta detta l'Alessandrina
8. Seconda a 2, Canto e Basso
9. Terza a 2, Canto e Basso
10. Prima a Basso Solo (Sesta detta Laltera)
11. Quinta a 4, Canto Alto Tenor Basse
12. Decimasettima a Due Bassi detta la Diodata
13. Quarta a 4, Due Canti e Due Bassi
14. Prima a 2, Canto e Basso
15. Quintadecima a 2 Bassi detta la Lieuoratta
16. Settima a Basso Solo detta la Superba
17. Decimasesta a 2 Bassi detta la Samminiata
18. Seconda a 4, Due Canti e Due Bassi
19. Quinta a 3, Due Canti e Basso
20. Terza a Canto Solo detta la Donatina
21. Seconda a 4, Canto Alto Tenor Basse Sopra Romanesca
Reviews:
Gramophone
Canzonas with not a recorder to be heard — and none the worse for that
As this ensemble's name implies, viols are the start here, and part of the disc's attraction lies in the novelty of hearing these pieces, which are played often enough, in an instrumentation that largely dispenses with the more usual winds. The only touch of nonstring colour is provided by the cornetto.
This may sound monochrome, but one quickly gets used to it. The role of the continuo is immeasurably enhanced, becoming not so much a backdrop to the solo lines (as Bruno Cocset points out in his booklet-notes) as their foundation. And the continuo section is rich indeed: harp, claviorganum, theorbo and harpsichord. When everything comes together the result is as colourful and ear-tickling as anything to be heard on other recordings of this repertoire.
Most of the time, however, the choice of canzonas is narrowed down to those for solo bass or two bass instruments. The canzonas have an exceptionally complex genesis and source-history, as Etienne Darbellay, one of the leading Frescobaldi scholars, reminds us in his booklet-note. The logical consequence of the choice of ensemble means that quite a few of the pieces selected tend to appear more rarely elsewhere, and that is reason in itself for Frescobaldi enthusiasts to want to hear this.
The performances rise to the music's challenges with considerable elegance and barely any technical strain, barring an occasional hint of scratchiness in some of the more exposed passages. This disc grows on me with repeated listening, and it has changed my impression of the music. I used to regard Frescobaldi's canzonas as being less inventive than the keyboard music; I don't any more.
Click here to download
Bruno Cocset, ténor de violon, basse de violon "a la Bastarda" & direction
Emmanuel Jacques, ténor & basse de violon
Emmanuel Balssa, basse de violon
Richard Myron, violone & contrebasse
William Dongois, cornets
Xavier Diaz-Latorre, théorbe
Christina Pluhar, harpe
Luca Guglielmi & Laurent Stewart, clavecin & claviorganum
Lossless: Ape (img + cue + log) = 362 mb
Lossy: Mp3 (lame "preset standard") = 90 mb
Artwork @ 300dpi (jpg) = 30 mb
Artwork @ 300dpi (pdf) = 18 mb
Total playing time: 64:51
Recorded 2003 | Released 2004
Recording:
September 2003, Chapelle de l'hôpital Notre-Dame de Bon Secours, Paris
Alpha 053
Track listing:
1. Vigesimaquarta a Due Bassi e Canto detta la Nobile
2. Ottava a Basso Solo detta l'ambitiosa
3. Prima a 4, Canto Alto Tenor Basse Sopra Rugier
4. Seconda a Canto Solo detta la Bernardinia
5. Undecima a Due Canti detta la Plettenberger
6. Prima a 2 Bassi
7. Trigesima Quinta detta l'Alessandrina
8. Seconda a 2, Canto e Basso
9. Terza a 2, Canto e Basso
10. Prima a Basso Solo (Sesta detta Laltera)
11. Quinta a 4, Canto Alto Tenor Basse
12. Decimasettima a Due Bassi detta la Diodata
13. Quarta a 4, Due Canti e Due Bassi
14. Prima a 2, Canto e Basso
15. Quintadecima a 2 Bassi detta la Lieuoratta
16. Settima a Basso Solo detta la Superba
17. Decimasesta a 2 Bassi detta la Samminiata
18. Seconda a 4, Due Canti e Due Bassi
19. Quinta a 3, Due Canti e Basso
20. Terza a Canto Solo detta la Donatina
21. Seconda a 4, Canto Alto Tenor Basse Sopra Romanesca
Reviews:
Gramophone
Canzonas with not a recorder to be heard — and none the worse for that
As this ensemble's name implies, viols are the start here, and part of the disc's attraction lies in the novelty of hearing these pieces, which are played often enough, in an instrumentation that largely dispenses with the more usual winds. The only touch of nonstring colour is provided by the cornetto.
This may sound monochrome, but one quickly gets used to it. The role of the continuo is immeasurably enhanced, becoming not so much a backdrop to the solo lines (as Bruno Cocset points out in his booklet-notes) as their foundation. And the continuo section is rich indeed: harp, claviorganum, theorbo and harpsichord. When everything comes together the result is as colourful and ear-tickling as anything to be heard on other recordings of this repertoire.
Most of the time, however, the choice of canzonas is narrowed down to those for solo bass or two bass instruments. The canzonas have an exceptionally complex genesis and source-history, as Etienne Darbellay, one of the leading Frescobaldi scholars, reminds us in his booklet-note. The logical consequence of the choice of ensemble means that quite a few of the pieces selected tend to appear more rarely elsewhere, and that is reason in itself for Frescobaldi enthusiasts to want to hear this.
The performances rise to the music's challenges with considerable elegance and barely any technical strain, barring an occasional hint of scratchiness in some of the more exposed passages. This disc grows on me with repeated listening, and it has changed my impression of the music. I used to regard Frescobaldi's canzonas as being less inventive than the keyboard music; I don't any more.
Click here to download
Many thanks.
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