Style fantastique Le Concert Brisé

• 6 Sonatas per chiesa e camera, Op. 3 (excerpts)
• 1Pandolfi-Mealli: Sonata La Castella09:25
• 2Pandolfi-Mealli: Sonata La Melana07:02
• Lamentation in F major, FbWV 633, Lamentation faite sur la mort tres douloureuse de Sa Majeste Imperiale, Ferdinand III
• 3Froberger: Lamentation03:58
• 6 Sonatas per chiesa e camera, Op. 3: No. 2. La Cesta
• 4Pandolfi-Mealli: Sonata La Cesta07:53
• Libro di toccate, fantasie, canzone, allemande, courante, sarabande, gigue et altre partite, Book 2: Toccata No. 3 in G major, FbWV 103
• 5Froberger: Toccata III in G03:03
• 6 Sonatas per chiesa e camera, Op. 3 (excerpts)
• 6No. 1. La Stella05:35
• 7No. 2. La Sabbatina08:42
• Keyboard Suite No. 1 in D minor (arr. E. Bellocq)
• 8I. Allemande02:52
• 9II. Courante01:46
• 10III. Sarabande02:28
• 11Froberger Suite en re mineur - Gigue01:40
• 6 Sonatas per chiesa e camera, Op. 3: No. 5. La Clemente
• 12Pandolfi-Mealli: Sonata La Clemente10:35
• Total Runtime01:04:59

Info for Style fantastique

‘Style fantastique’ is the latest record of the ensemble ‘Le Concert Brisé’, lead by William Dongois (cornetto). It is the complete op. 3 album of 6 sonatas, originally composed for violin and continuo by Giovanni Pandolfi-Mealli (1620 - ca. 1669). Dongois impressively demonstrates his utter mastery as a cornetto virtuoso: he makes this music sound with a lightness as if it had never been composed for a different instrument.

The title of this recording sums it up: this is indeed a fantastic recording. The liner notes written by William Dongois provide an excellent backdrop for one to appreciate properly the style fantastique. The works by Giovanni Antonio Pandolfi-Mealli included on the recording follow in the virtuosic style of Girolamo Fontana and Dario Castello. However, his virtuosic demands begin where the other composers have finished.

William Dongois negotiates the countless roller-coaster-like passages with complete control, elegance, and élan. The works are varied in style and affect. Indeed, while countless treacherous technical passages abound, each sonata contains lovely lyrical sections. These in turn vary in affect: some whimsical, some with pathos, some with simply pure beauty. Dongois addresses each in a special way, but always with charm, artfully-shaped phrases, and heart.

The three works by Johann Jakob Froberger included on the recording are solo vehicles for keyboardist Carsten Lohff and lutenist Eric Bellocq. These compositions are less technical than those of Pandolfi-Mealli and in that sense provide the record with balance. Still, they are style fantastique. Included are dance suites, a beautiful lamentation over the death of Ferdinand III, and freely composed fantasies. It is evident that great thought and preparation was devoted to these performances. They give one pause for thought and at the same time, they dazzle.

If this were not enough, one must take note of a very important aspect of this recording: It was recorded live in three performances over four days. In and of itself, this is a noble and “honest” approach. What are the results? The performance of Le Conncert Brise is astonishing and exciting. Theirs is not a reserved approach. There is great emotion in all of the playing. Indeed, Dongois dazzles one with numerous high velocity breathtaking technical passages tossed off with great excitement, some of which ascend to high C and D, which he negotiates with great refinement. In the end, this recording has the perfection one has come to expect from products of a recording studio, but is also filled with the excitement and warmth only possible from a live performance. On every level this is an excellent and inspiring recording. It cannot be recommended too highly. (James Miller, www.historicbrass.org)

William Dongois, Cornetto
Carsten Lohff, Harpsichord & Organ
Eric Bellocq, Lute & Theorbo

Recorded Live October 28-31, 2009 in the Musee d’art et d’histoire de Neuchatel, Switzerland; straight cornetti at 440 Hz and 520 Hz after German original by Henri Gohin.

Le Concert Brisé or Broken Consort, this name defines an ensemble of instruments from different families. This chamber music ensemble was created by William Dongois at the beginning of the 1990’s.

The various proposed programs are centered around the cornetto and touch on virtually all the repertoire for this instrument. Using musicology to gain an understanding of the spirit of this music, the ensemble aims to create a framework as favorable as possible to a natural and lively execution.

With a variable number of instrumentists and a singer from two to ten members depending on the program, Le Concert Brisé gathers musicians who have a common musical approach and a similar rapport to historical sources. This common ground constitutes one of the two reference pillars of their interpretation, the other one being the use of improvisation techniques based on jazz and traditional music.

The musicians of Le Concert Brisé have the desire to communicate to the public the pleasure they have in playing this music while taking risks by introducing improvisation whenever possible. In this way they privilege eloquence in performance above a too strict adherence to the musical scores.

Booklet for Style fantastique