This programme will oblige the most refined tastes of early music lovers by offering a selection of cello sonatas and concertos by the genius of Italian Baroque, Antonio Vivaldi, to be presented by two erudite musicians and masters of the Baroque cello – Bruno Cocset (France) and Roel Dieltiens (Belgium).
An insatiable musician-researcher, atypical cellist and renowned teacher, Bruno Cocset gives the Baroque cello its own individual voice, nourished by a constant quest for the perfect synergy of instrumental and musical gestures. He began to play the Baroque cello with its gut strings after his studies in Tours and a period at the Conservatoire National Supérieur de Lyon when he spent twenty years as a ‘nomadic cellist’, a period rich in musical encounters and experiences with the most ardent champions of the Baroque scene. In 1996, he founded Les Basses Réunies and recorded the cello sonatas of Vivaldi.
The cellist and composer Roel Dieltiens swiftly made a name for himself on the international scene and is now regarded as an authority in both modern and Baroque cello repertoire. His strong personality, overwhelming musicality and unconventional approach took him right from the beginning of his career to all the world’s great concert centres. He has also gained international recognition as a chamber musician and founder of the celebrated Ensemble Explorations.
In this programme they will be accompanied by the basso continuo made up of two musicians from Les Basses Réunies – harpsichordist Maude Gratton and double bassist Richard Myron.
The initiator behind this programme, Bruno Cocset, comments: “In his sonatas for solo cello, Vivaldi takes evident delight in narration and all its multiple facets. Revelling in the play with sound colour and materials at hand, Vivaldi liberates space, time and emotional states. He has this incredible ability to switch, in an instant, from narration to depiction, from burning fire to meditation, from the spoken-sung-dance mode to pure singing, from the progress to the suspension of time, from the brewing drama to a happy smile, from the tumult to introspection, from sweet to spicy, from the figurative to the abstract… Within the apparently applied framework of rigid ‘Corellian’ sonata (four movements of alternating slow-fast-slow-fast tempo, all with repeats), he borrows generously from the popular dances of the time (sarabandes, allemandes, gigues, siciliennes…), from the nascent style of bel canto, from the realm of concerto grosso, with its ‘tutti-soli’ interplay… This music contains a myriad of plots, which are each a world sketched without limit, as the breeding ground of infinite wealth, of which Vivaldi lays out his mosaic with mastery… Small touches, simplicity, even destitution or abstraction of means imbued with a lively, jubilant and fiery spirit: what remains after listening or playing oscillates and sings in us beyond apparent chatter, far from all the clichés that had sometimes accompanied this music.”