Le Consort

This program begins with the Fantasia con discretione, by Nicola Matteis Junior, the son of the Nicola Matteis. This very meditative poetic and introspective piece may be one of the finest for solo violin from the Baroque period.

The Mad Lover began life around 1616 as a comedy by the prolific and versatile English dramatist John Fletcher. Eccles provided the score, in which he included an abundance of instrumental pieces, such as this ground. The descending tetrachord forms a relentless, repetitive motif, one which sticks in one’s memory with a touching immediacy.

Nicola Matteis, a Neapolitan violinist of genius, brought to England an Italian lyricism and virtuosity, creating an eccentric type of Anglo-Italian melancholy. The Sarabanda Amorosa, Preludio in C Solfaut Andamento and Bore are very little movements full of characters, creating a bewildering variety of moods. The diverse bizzarie sopra la vecchia o pur sarabanda is based on a saraband-style ground base, with a set of variations for the violins in C major in a very joyful atmosphere. 

Antonio Vivaldi’s talents are beyond question: he has achieved lasting fame as one of the most inventive, prolific and virtuosic composers of the baroque period. The sonata in G minor is the very first work that Vivaldi published, when he was 23 years old. Its five sections mingle elements of the sonata da chiesa (Preludio Grave and Adagio) with dances (Allemanda, Capriccio, Gavotta). Vivaldi first plunges us into the intensely contemplative atmosphere of a Venetian church, then surprises us with dance movements in which the violins vie with each other in virtuosity.

The immensely famed Corelli became a model for his contemporaries, with a strong influence on the composers of his own time and on succeeding generations as well. The Violin sonata Op. 5, No. 12 comprises virtuosic variations on the popular ground bass in triple time known by its Spanish name La Folia – alluding to the ‘frenzy’ of the dance.

Francesco Maria Veracini was born in Florence and led a tremendous life travelling across Europe. This finale from the violin sonata in A Major, written in the high register of the baroque violin, is very challenging.

INTERMISSION 

The greatest genius of the late 17^th century in London was undoubtedly Henry Purcell. We will perform the version for harpsichord, written by Purcell himself, of the famous song “Here the Deities.” Purcell was present on all fronts: at a time when both the form and the instrument already belonged to a fast-disappearing world, he wrote the last fantasias for viols in the great English tradition. At the same time, he did not conceal his interest in the violin and the Italian sonata. Purcell had his Sonnata’s of III Parts printed at his own expense in 1683. It was a significant risk for the youthful composer, still only 24 years old. And his tragedy was to have remained misunderstood: the 1683 collection and the one of 1697 published by his widow after his death sold so badly that Frances Purcell was forced to remainder them, without being able to sell off her stock. Purcell, so beloved for his operas, had bad luck with his sonatas. Yet from the very beginnings of our ensemble we have performed the Sonata VI. This Sonata, built on a ground that repeats itself tirelessly, is a compendium of Purcell’s genius, which questions the human soul in its most intimate aspects. By its emotional intensity, this extraordinary work reminds us of the death of Dido by the same composer.

We are very happy to present in this program Miss Philarmonica, a mysterious woman composer who pseudonymously published sonatas in a highly personal style tinged with Italian colouring and English mournfulness. We were the very first to record her Sonata Sesta in G Major and to bring this long-forgotten composer to life! 

The Andante BWV 974 was originally written by the venetian composer Marcello for oboe and orchestra. Johann Sebastian Bach discovered the score and decided to transcribe it for his own instrument, the harpsichord. The Sonata No. 12, La Follia, by Vivaldi is a masterpiece of the trio sonata repertoire, irresistible in its sheer momentum. The variations are built up impressively: by turns slow and fast, introspective and passionately fiery, they unfold organically with stylistic mastery, taking performers and listeners alike on a journey from intimacy to virtuosity.

Notes copyright 2024 by Sophie de Bardonnèche

Our ensemble, formed in Paris in 2015, is dedicated to baroque music, and more particularly to the genre of the trio sonata. Since our beginnings, it is a repertoire that we have worked intensively on, played, recorded and that we interpret with enthusiasm, sincerity and modernity. Quintessence of chamber music in the baroque era, we try to bring to this genre a personal, dynamic and colorful interpretation. Made up of two violins, a cello and a harpsichord, Le Consort has already developed numerous projects and collaborations and is considered “one of the major players on the French baroque scene” (Diapason, October 2019).

In June 2017, we won the First Prize and the Audience Prize at the Concours International du Val de Loire, chaired by William Christie. Since then, we have played in many venues in France and Europe (Auditorium de Radio France, Elbphilharmonie in Hamburg, Auditori de Barcelone, Festival de la Roque d’Anthéron, etc.). The Consort is in residence at the Fondation Royaumont, the Banque de France and the Fondation Singer-Polignac.

Our repertoire includes works by composers such as Corelli, Vivaldi, Couperin, Purcell, etc., but also composers who have remained unknown and whom we strive to rediscover and make known. Bringing these unpublished composers back into the spotlight is one of the artistic signatures of our ensemble. Jean-François Dandrieu, Louis-Antoine Lefevre and Giovanni Battista Reali are three composers whom we have recorded for the first time (respectively on the albums Opus 1, Venez chère ombre and Specchio Veneziano). For our next projects, we already have some ideas: Nicola Matteis Junior, Ravenscroft, Exaudet, Lamolinari, Gentili… so many composers to whom we will devote ourselves in the years to come.

The trio sonata was the king genre in the Baroque era, and we consider that it deserves a group that is entirely dedicated to it to do it justice. Very few ensembles perform this repertoire despite the immense range of music written for this formation. Indeed, the trio sonata can be compared to the string quartet of the Classical and Romantic eras: from 1600 to 1800, it was the most popular genre of chamber music.

The rise of our solo careers leads Le Consort to develop and flourish in larger forms, for projects of violin concertos or opera. With our extensive experience in chamber music, this change of personnel is taking place in a very fluid manner: our chamber music reflexes radiate to the rest of the orchestra, and the cohesion that we have always had as four musicians is spreading to the entire personnel.

For more information, visit their website.

Théotime Langlois de Swarte is a passionate and eclectic violinist, whose repertoire extends from the 17th century to contemporary creation. He was nominated for the Victoires de la Musique Classique 2020 in the category “Instrumental Soloist Revelation” where he represents the baroque violin for the first time. He performs around the world in prestigious venues such as the Berlin Philharmonie, the Musikverein in Vienna, the Shanghai National Art Center and the Walt Disney Hall in Los Angeles.

After studying at the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) in the class of Michaël Hentz, he founded the ensemble Le Consort with harpsichordist Justin Taylor (First Prize and Audience Prize 2017 at the Concours International du Val de Loire). The ensemble collaborates with artists such as Eva Zaicik, Véronique Gens and cellist Victor Julien-Laferrière. The ensemble’s recordings were crowned in 2019 by a Choc Classica (Venez Chère Ombre) and a Diapason d’Or of the year 2019 (Opus 1).

He performs in chamber music notably with William Christie within the Arts Florissants as well as in the Jupiter ensemble of Thomas Dunford, alongside Jean Rondeau, Bruno Philippe, Léa Desandre, and Thibault Garcia. Coming from the young baroque generation, Théotime Langlois de Swarte participates in the recording projects of the ensembles Les Ombres (Margaux Blanchard, Sylvain Sartre), Pulcinella (Ophélie Gaillard), Marguerite Louise (Gaëtan Jarry).

His concerts are regularly recorded by Culturebox (Concerti de Leclair at the Festival de Sablé sur Sarthe, Sept Particules at the Deauville festival, Affects Baroques with Eva Zaicik Salle Cortot, Concertos de Vivaldi with Jupiter). In November 2019 he performed in recital in the program Salon des miroirs with Justin Taylor in the season of the Philharmonie de Paris on the violin “Davidoff” Stradivarius from the collection of the Musée de la Musique, a program recorded by France Musique.

In 2020 he will also record for Harmonia Mundi the 1st sonata of Fauré in duet with Tanguy de Williencourt on the “Davidoff” Stradivarius of the Musée de la Musique.

Winner of the Jumpstart Foundation, Théotime Langlois de Swarte plays on a violin by J. Stainer from 1665.

Sophie de Bardonnèche is a passionate baroque violinist. Following her decisive encounter with Amandine Beyer, she continued her master’s studies at the Schola Cantorum in Basel. Her high standards, sensitivity and enthusiasm led her to give concerts as a soloist, chamber musician, and in the greatest baroque ensembles. Sophie plays a Frères Amati violin, made in Cremona in 1596, loaned by the Jumpstart Junior Foundation (Sparey Collection). 

Sophie is a founding member of the Le Consort ensemble, with which she won the First Prize and the Audience Prize at the Val de Loire International Ancient Music Competition in 2017. The ensemble’s recordings have been unanimously praised by the French and international press and their latest album Opus 1, released in 2019, was awarded a Diapason d’or of the year. The Consort is in residence at the Banque de France, the Royaumont Foundation and the Singer-Polignac Foundation. 

Winner of the Arts Flo Juniors program in 2017, Sophie has since been part of Les Arts Florissants, an ensemble directed by William Christie. In chamber music and orchestra, she takes part in tours that take her around the world to prestigious venues such as the Tokyo Opera, the Philharmonie de Paris, the Walt Disney Hall in Los Angeles, the Palau de la Musica in Barcelona, the Opéra Garnier and the Barbican Center in London. Sophie is also invited to give concerts and record with many baroque ensembles such as Jupiter, Les Ombres, Le Concert Spirituel, Le Poème Harmonique and Les Musiciens de Saint-Julien. 

Sophie plays a 1596 Antonius & Hieronymus Amati violin kindly loaned by the Jumpstart Junior Foundation, Sparey Collection.

Admitted at the age of 16 to the National Conservatory of Music and Dance in Paris in the class of Michel Strauss and then Raphaël Pidoux, Hanna Salzenstein is a passionate and demanding musician. Playing regularly with the Orchestre philharmonique de Radio France and the Orchestre de l’Opéra de Paris, she also participates in numerous festivals such as La folle journée de Nantes, the International Piano Festival of La Roque d’Anthéron, the Festival de la Vézère, the Festival des rencontres de Belaye created by Roland Pidoux, the Festival Jeunes Talents, the Festival du Printemps des arts de Monte Carlo and also in several radio shows such as “Générations Jeunes Interprètes” on France Musique in duo with Fiona Mato, pianist.

After studying baroque cello in Christophe Coin’s class, Hanna joined the Consort with which she participated in the Deauville Easter Festival as well as the Bel Air keyboards Festival and recorded the album entitled Opus 1 at Alpha Classics, awarded a Diapason d’Or, dedicated to the Dandrieu and Corelli trio sonatas. She also joined the Stradivaria ensemble with which she plays as a soloist alongside Raphael Pidoux.

Hanna performed as a soloist with the Appassionato Orchestra conducted by Mathieu Herzog at the Seine Musicale as part of the Philippe Jarrousky Academy.

Co-founding member of the Trio Éluard, with pianist Fiona Mato and violinist Théotime Langlois de Swarte, they participated in 2018 in the Ensembles en résidence during the La Roque d’Anthéron International Piano Festival. In 2019, Hanna joined the Violoncelles français alongside Anne Gastinel, Raphael Pidoux, Roland Pidoux and Xavier Phillips, with whom she gave several concerts, notably at the Festival des Sommets musicaux in Gstaad.

Hanna recently performed at Salle Cortot with the Consort on the occasion of the album release and participated in a duo with Fiona Mato in a concert tour in Alsace organized by the AJAM. She also performed at the 27th Victoires de la Musique as part of the Ensemble du Concert de la Loge conducted by Julien Chauvin.

The young Franco-American musician won, at just 23 years old, the First Prize of the prestigious Bruges International Harpsichord Competition. He also won the Audience Award, the Alpha Award and the EUBO Developing Trust Prize awarded to the most promising young European baroque musician. In 2017, Justin was nominated for the Victoires de la musique classique, and the Professional Critics Association awarded him the Musical Revelation Prize. Next March, Justin will release his third solo album, La Famille Rameau, recorded on the legendary historic harpsichord of the Chateau d’Assas.

Since he was very young, Justin Taylor has played the harpsichord and piano with passion. After studying these two instruments in Angers, his hometown, Justin continued his studies at the CNSM in Paris in the classes of Roger Muraro for piano, Olivier Baumont and Blandine Rannou for harpsichord.

Justin Taylor has already made more than ten recordings. His first album, La Famille Forqueray (2016), won multiple awards: CHOC of the Year Classica, Gramophone Editor’s Choice, Grand Prix de l’Académie Charles Cros, Qobuzissime… Continuum, dedicated to Scarlatti and Ligeti, is among the 5 best recordings of 2018 by the newspaper Le Monde. Equally at home on the pianoforte as on the harpsichord, Justin recorded Mozart’s 17th concerto with Le Concert de La Loge (CHOC Classica). The young musician also participated in Deutsche Grammophon’s Bach333 complete collection by recording a double disc of little-known works by Bach. Justin records exclusively for the Alpha Classics label. The young musician has been heard in recital at the Auditorium du Louvre, at the Philharmonie de Paris, at the Festival de la Roque d’Anthéron, at the Folle Journée de Nantes… and in many European cities. During the 2019/2020 season, Justin will make his debut in Japan (Tokyo, Nagoya, Hyogo…) and in the United States (Washington, San Diego…). Justin Taylor has performed with many orchestras such as the Orchestre National d’Île-de-France, the Orchestre Royal de Chambre de Wallonie, the Orchestre de Chambre de Genève, the Orchestre de Picardie and the Mannheim Orchestra…

Justin Taylor has not neglected the chamber music repertoire. With his ensemble Le Consort, he won First Prize and the Audience Prize at the 2017 Val de Loire International Early Music Competition, chaired by William Christie. Alongside mezzo-soprano Eva Zaïcik, they recorded Venez chère ombre, a disc dedicated to French cantatas. OPUS1, which presents the first complete trio sonatas by Jean-François Dandrieu, was awarded a Diapason d’or of the year (Opus 1, Alpha Classics). The Consort is in residence at the Banque de France, the Royaumont Foundation and the Singer-Polignac Foundation in Paris.