Sketches of Europe – Rinascere_En

Andrea Falconieri (c. 1585 –1656)
Batalla de Barrabas yerno de Satanas, Il primo libro di canzoni, sinfonie, fantasie, canzoni, capricci, brandi, correnti, gagliarde alemane (Naples, 1650)
Giulio Caccini (1551 –1618)
Dalla porta d’Oriente – Poem by Maria Menadori, Nuove musiche e nuova maniera di scriverle (Florence, 1614)
Claudio Monteverdi (1567 – 1643)
Lamento della Ninfa – Poem by Ottavio Rinuccini – Madrigali guerrieri et amorosi (Venise, 1638)
Ignazio Donati (c. 1570 – 1638)
O Gloriosa domina – Flores praestantissimorum virorum (Milan, 1626)
Johan Vierdanck (c. 1605 –1646)
Sonata no 28 – Capricci, Canzoni und Sonaten (Rostock, 1641)
Marco Antonio Ferro (c. 1600 – 1662)
Sonata n°10, Sonate a 2, 3, 4 strumenti e b.c. op. 1 (Venise, 1649)
Andrea Falconieri
Passcaglia, Il primo libro di canzoni, sinfonie, fantasie, canzoni, capricci, brandi, correnti, gagliarde alemane (Naples, 1650)
Claudio Monteverdi
Zefiro torna e di soavi accenti – Poème d’Ottavio Rinuccini – Scherzi musicali (Venice, 1632)
Si dolce è’l tormento – Quarto scherzo delle ariose vaghezze (Venice, 1624)
William Brade (1560 – 1630)
Dance suite – Der Pilligrienen Tanz, Der Rothschenken Tanz, Ein Scottisch Tanz, Der Satyrn Tanz Branden, Intraden, Mascharaden, Balletten, All’manden, Couranten, Volten (Hambourg et Lübeck, 1617)
Lise Viricel, soprano
Ensemble Rinascere
Adrien Ramon, Clément Formatché, cornettos
Clément Carpentier, tenor and alto sackbuts
Romain Davazoglou, tenor sackbuts
Cyril Bernhard, bass sackbut
Benoit Maurin, percussions
Alice Baudoin, harpsichord

Sketches of Europe, at the crossroads of the Renaissance and Baroque

Monday July 27th, 15:00 – Espace Culturel Le Savoie, Saint-Michel-de-Maurienne

Concert rescheduled to 2021

The fascination held by the Italian Renaissance, whether in the sciences or the arts, spreads well beyond the Alps, as well as its predilection for brass instruments. Cornettos and sackbuts find their way into churches, playing colla parte with the choir, and into courts, providing pomp and luster.
According to period treatises, early brass instruments and the human voice, which the Renaissance had elected as the ultimate expression of affects, indisputably share a close kinship.
Rinascere agrees and inventively follows suit. Thus, in Monteverdi’s “Lamento della Ninfa”, male voices are replaced by the expressive tone of the brass. In Donati’s “O gloriosa domina“, the cornetto imitates the soprano voice.
Resuming their dialogue with the soprano voice, Rinascere’s brass instruments eloquently emulate its inflections in Monteverdi‘s madrigals, with the joyful “Zefiro torna“ contrasting with the lovesick “Si dolce è’l tormento“.

Ensemble Rinascere

Rinascere was born from the joint ambition of six musicians to cast new light on the repertoire for cornettos, sackbuts and percussion. The conjectured affinity between early brass instruments and the voice in time confirmed itself as a source of musical creation for them.
Rinascere builds a musical tale of Europe at the time of the Renaissance and early Baroque, weaving together original works for consorts of brass instruments and various transcriptions of vocal works or canzone for string ensembles, alternating the diverse aesthetics of compositions by Caccini, Monteverdi, Gesualdo, Schein, Scheidt, Holborne, Castello, Frescobaldi, Gabrieli…
These musicians, all graduates of prominent French and German music schools, are known for their skills as “modern” instrumentalists. Their contemporary approach of these 15th, 16th and 17th-century pieces lends them a fresh shine.

Lise Viricel

starts studying singing at 7 and enters the Lyon Opera Maîtrise where she addresses a wide repertoire while also studying drama, a dual curriculum she will pursue. In 2008, she joins Marie-Claude Vallin’s class of Early music singing at the Lyon CNSMD, where she perfects her knowledge of baroque styles, and her technique both as a soloist and choir singer, practicing one-voice-a-part singing, until her Master’s degree in 2013.
Meanwhile, she sings in many productions dedicated to Bach, Monteverdi, Purcell, Vivaldi, Carissimi, Rameau… On stage, she is Eurydice in Gluck’s “Orphée et Eurydice“, Eurialo in Cavalli’s “L’Oristeo“ and Céphise in “Alcione“ by Marin Marais, directed by Jordi Savall.
She appears with a number of prestigious ensembles such as Arsys Bourgogne, Concerto Soave or the Capella Reial de Catalunya.
Finally, she is Jeanne in “Jeanne et la chambre à airs“, a show written for the young public by Karin Serres.