In the late 16th and early 17th centuries the bass register was especially favored for virtuoso singing, and some of the greatest soloists of the new expressive Baroque style were basses. Though basses were cautioned to be prudent in the use of ornaments (since their part was the “foundation of all music”) these solo pieces often defy such admonitions, indulging in exuberant passage-work while at the same time showing great subtlety of expression. At times the voice will be accompanied by a sonorous consort of trombones, and at other times by the luminous contrast of a cornetto and a violin.
CONCERTO PALATINO: Bruce Dickey, cornetto; Charles Toet, Simen Van Mechelen, Joost Swinkels, Greg Ingles, trombones; Julie Andrijeski, violin; David Tayler, archlute; Hanneke van Proosdij, keyboards; Harry van der Kamp, bass
June 8, 2016 – 8:00pm
First Congregational Church – 2345 Channing Way (entrance at Dana and Durant)
Buy Tickets: $46/40/36, $15 students under age 30 with ID
Concerto Palatino The names Bruce Dickey and Charles Toet are practically synonymous with the modern revival of the cornetto and the Baroque trombone and are largely responsible for the enormous advances that have been made in the last 20 years in playing standards on these instruments. In a collaboration of some 25 years, they have together trained a whole generation of cornetto and trombone players, many of whom have become regular members of Concerto Palatino.
While the core group is comprised of two cornetti and three trombones, this formation is frequently augmented by the addition of brass players, strings, or singers as necessary. Inevitably, much of their repertoire is sacred, as these instruments were a fixture of musical chapels in both the Catholic south and the Protestant north, from the time of the first flowering of Flemish polyphony in the early 16th century through their twilight years at the time of J.S. Bach, one of the last composers to employ them in a serious way.
Concerto Palatino frequently collaborates with other leading ensembles, in particular Cantus Cölln (Konrad Junghänel), Collegium Vocale Ghent (Philippe Herreweghe), La Dolcezza (Veronika Skuplik), the Amsterdam Baroque Orchestra (Ton Koopman), and the Bach Collegium Japan (Masaki Suzuki).
Concerto Palatino places a high priority on unearthing neglected gems of music history and giving them a place in the concert hall and record catalogs alongside the works of established masters. Thus, in addition to highly acclaimed recordings of Schütz, Gabrieli, and Monteverdi, they have made premiere recordings of the Marian Vespers of Francesco Cavalli, the Missa Maria Concertata of Christoph Strauss, and Palestrina’s Missa sine nomine preserved in a manuscript of J. S. Bach.
Their numerous recordings for EMI Reflexe, Accent, and harmonia mundi France have received high acclaim. In particular, a major series of recordings together with Cantus Cölln (Vespers of Monteverdi and Rosenmüller, Schütz’ Psalmen Davidsand Symphoniae sacrae, the Selva Morale e spirituale of Monteverdi) has won numerous prestigious awards.