Concert-documentaire

TRANSTAÏGA

Dimanche 18 septembre 2022

16h

Salle Pauline-Julien
15 615 boul. Gouin Ouest
Sainte-Geneviève, Québec
H9H 5K8

After the rich so-called Elizabethan period, which lasted well into the 17th century, various Italian and French forms, genres, and practices were adopted into English music. The sonata replaced the old consort of violes, the basso continuo became indispensable, the violin had its first virtuosos—they came from overseas, of course—and Charles II established a 24-string orchestra to play various dances in the French manner. The ‘Merry Monarch’ also maintained a ‘private musick’, a chamber ensemble that played for his pleasure. But despite these strong influences, English music in the second half of the 17th century developed its unique spin, an expressiveness and harmonic daring which were all its own.

Thursday, November 3, 2022

7:30 PM

Salle de concert du Conservatoire
4750 Henri-Julien
Montréal, QC

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Conservatoire Box Office

514 873-4031, poste 313
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Tuesday through Friday from 2:00 p.m. to 6:00 p.m.
billetterie@conservatoire.gouv.qc.ca

Les Boréades


Francis Colpron, recorders
Olivier Brault, violin
Mélisande Corriveau, viola da gamba
Mark Edwards, harpsichord

Program note


“Private Musick : english chamber music in the time of the Stuarts”
By François Filiatrault

Read the note

Program


Matthew Locke (v.1621-1677)

Suite nº 2 en sol majeur, jouée aux flûte à bec soprano, violon et basse continue (Compositions for Broken and whole Consorts, manus., s.d.)
          Fantazie – Courante – Ayre – Saraband

Henry Purcell (1659-1695)

Sonate à 4 nº 6 en [si] mineur, Z. 807, jouée aux flûte à bec alto, violon, viole de gambe et basse continue (Sonatas of Four Parts, Londres, 1697)
          Chaconne

John Blow (1649-1708)

Sonate à 4 en la majeur, jouée aux flûte à bec soprano, violon, viole de gambe et basse continue (manus., s.d.)
          [Largo] – Larghetto – [Allegro-Adagio]

Henry Purcell

Sonate à 3 nº 7 en mi mineur, Z. 796, jouée aux flûte à bec ténor, violon et basse continue (Sonatas of III Parts, Londres, 1683)
          Sonnata – Canzona – Largo – Grave – Vivace-Adagio

John Blow

Sonate à 4 en sol majeur, jouée aux flûte à bec soprano, violon, viole de gambe et basse continue (manus., s.d.)
          [Largo] – Larghetto – [Allegro-Adagio]

pause

Matthew Locke

Fantaisie de la Suite nº 5 en sol mineur, jouée aux flûte à bec soprano, violon, viole de gambe et basse continue (Consort of Four Parts, manus., v.1655)

Christopher Simpson (v.1605-1669)

Divisions on a Ground pour viole de gambe et basse continue en mi mineur (The Division Viol, or the Art of Playing upon a Ground, Londres, 1667)

Anonyme

A Division on a Ground pour flûte à bec alto et basse continue en fa majeur (The Division Flute, Londres, 1706)

Henry Purcell

A Ground pour clavecin en mineur, Z.D 222 (in A Choice Collection of Lessons, Londres, 1696)

Godfrey Finger (1656-1730)

Sonate pour violon et basse continue nº 2 en fa majeur (Six Sonatas or Solos, Londres, v.1695)
         [Largo] – Allegro – [Adagio] – [Largo] – [Menuet] – Presto

Matthew Locke

Fantaisie de la Suite nº 2 en mineur, jouée aux flûte à bec soprano, violon, viole de gambe et basse continue (Consorts of Four Parts, manus., v.1655)

For more information

Discover the Private Musick recording of Les Boréades recorded on the ATMA label in 1997.

Discover

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