Emmanuelle Bertrand

Emmanuelle Bertrand, cello

Les Paladins
Alice Coquart, cello
Charles-Edouard Fantin, theorbo and guitar
Alexandre Teyssonnière de Gramont, double bass
Jérome Corréas, harpsichord, (organ), & direction

As brilliant as the Four Seasons, though less well known, Vivaldi's Sonatas for Cello prompted Emmanuelle Bertrand to change the pitch of her cello and tackle Baroque music with one of the great interpreters of this repertoire: the inventive Jérôme Correas, accompanied by a number of musicians from Les Paladins. Between interpretation and improvisation, the spotlight on these sonatas, carefully selected from the twelve that have been found by the composer, is the finest tribute that could be paid to the red-headed priest of Venice.

In Venice, at the beginning of the 18th century, sonatas for cello and basso continuo met with great success. It was against this backdrop that Vivaldi composed his six sonatas, between 1720 and 1730. Like the life of their creator, these sonatas had a romantic destiny: copied in the mid-1720s, they were not finally published in Paris until 1740. Some have since disappeared. These sonatas constitute a unique group in the work of Vivaldi, whose predilection for the violin is well known. Conceived from dances, these sonatas certainly follow the canonical slow-fast-slow-fast movement, but above all they offer a sensory experience, intuitively calling forth the choreographic gesture. An alliance of fantasy and melancholy, this set of sonatas bears witness to Vivaldi's expressive grace.

Antonio VIVALDI

Sonata op. 14 n° 1 in Bb major RV 47

Sonata Op. 14 No. 3 in A minor RV 43

Sonata in G minor RV 42

Improvisation on “La Follia

Trio sonata op. 1 no. 12 in D minor

Sonata op. 14 no. 5 in E minor RV 40

Nisi Dominus, Psalm 127 RV 608 “Cum dederit dilectis suis

Sonata in A minor RV 44

Concert duration: approx. 1h20 (without intermission)

Program co-produced with La Belle Saison and created with the support of La Ferme de Villefavard-en-Limousin.