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LES SONADORI : Consort De Violons Renaissance Programme Détaillé ______ LES SONADORI : Consort de Violons Renaissance Programme détaillé ______________________________________________________ I. Concert de musique Profane Pavane «Le bon vouloir» (danse*) «Je ne scay pas comment», Chanson de B. Appenzeller (Belgique 1480-1558) (1) Bruder Konrads Tanzmass + Nachtanz (danses*) Quando ritrova la mia pastorella (danse*) Tout jour leal à ma maistresse, de Jean Courtois (1ère moitié XVIe siècle) (2) Basela un trato - El fransosin (danses*) Vignon, vignette / Qui te planta, de Roland de Lassus (Mons-Belgique 1532 / Munich 1594) (3) Tant que vivrai + Nachtanz Pavane et gaillarde (danses*) Petite Camusette, de Josquin Desprez (Picardie 1450 / Condé sur l’Escault 1521) (4) Petite Camusette, d’Adrian Willaert (Brugge 1490 / Venezia 1562) (5) Ma bouche rit, de Josquin Desprez (6) Mon cueur, mon corps, d’Adrian Willaert (7) Pavane La Colognese, suivi de la galliarde El desperato (danses*) Pavane Sine tenez (Si me tenez tant de rigueur), de Thomas Crequillon (8) Pavane de Re, suivi de la galliarde Gamba (danses*) II. Procession Pavane d'Angleterre (danse* 1) Madre de’ paccatori , Laude de Fra Serafino Razzi (Libro 1° delle Laudi Spirituali, Venezia 1563) Passa mezzo et gamba (danses d’après Diego Ortiz, Tratado de Glosas, Roma 1553) Ce fut le jour, Chansonnier Chardavoine, polyphonie improvisée par « Les Sonadori » J’ai vu le loup, le renard et le lièvre, chanson populaire arrangée par « Les Sonadori» La scarpa (chaussure) my fait mal (danse*) Chi serve a Dio cum purità di core (Laude) Veni creator (Hymne), en entrant dans l’église pour le concert de musique sacrée III. Concert de musique Sacrée Quam pulchra es, et quam decora, de Roland de Lassus (Mons-Belgique 1532 Munich 1594) (9) Musae Iovis : déploration sur la mort de Josquin, de Nicolas Gombert (1495-1560) (10) O bone Jesu, de Pierluigi da Palestrina (1525 près de Rome / 1594 Rome) (11) Contrepoints sur le thème de La Spagna, n°1 et 12, de Costanzo Festa, (Piemont 1495 / Roma 1545), In te, Domine, speravi, de Roland de Lassus (Mons-Belgique 1532 / Munich 1594), (12) texte : psaume 30 v. 1-6 Adesto dolori (Responsoria de Officium defunctorum, office des morts), de Jacques de Wert (Weert-Belgique / Mantova 1596) (13) Contrepoints sur le thème de La Spagna, n° 19 et 4, de Costanzo Festa, (Piemont 1495 / Roma 1545) O salutaris hostia, d’Adrian Willaert (Brugge 1490 / Venezia 1562) (14) Pater noster qui es in cælis / Ave Maria gratia plena , de Josquin Desprez (Picardie 1450 / Condé sur l’Escault 1521) (15) Salve Regina mater misericordiae, de Roland de Lassus (Mons-Belgique 1532 / Munich 1594) (16) Les danses (*) sont tirées de quatre principales sources : 1 - Source imprimée : Hessen, Paul et Bartholomeus, Vier Feiner Lieblicher Stucklein ... Breslaw, 1555. 2 - Source manuscrite : Bibliothèque de Munich (Bayerische Staatsbibliothek), manuscrit 1503 (h) 3 - Source manuscrite : Bibliothèque de Londres (British Library), Royal appendix 59-62. 4 - Source imprimée : Attaingnant, neuf basses danses, deux bransles ... Livre I, 1530. Sources des Chansons et Motets (1) Sources imprimées : Kriesstein 15407; Susato 154413, vol.V. (2) Sources imprimées : Kriesstein 15407; Susato 154514. Livre VI. (3) Sources imprimées : Le Roy & Ballard 1584L953; Phalèse 15967. (4) Sources imprimées : Susato 154515; Attaingnant 1549J681 , Livre 36 ; Le Roy & Ballard 156028. (5) Source imprimée : Kriesstein, 15407. Select. nicnon familiaris cantiones, Kriesstein Augustae Vindelicorum. (6) Sources imprimées : Susato 154515; Attaingnant 1549J681. (7) (version 2 avec canon) Source imprimée : Susato, 154514. Livre VI. (8) Source imprimée : Giacomo Vincenzi, Canzon di diversi per sonar con ogni sorte di stromenti, Libro Primo, Venetia 1588 (Crecquillon 154514). (9) Sources imprimées : Berg, 1585; Heinrich, 1604L1019. RISM 1585.b (10) Source imprimée : Susato 154515 , livre VII. (11) Source imprimée : Scotto 1575P711. (12) Sources imprimées : Berg (Montanus) & Neuber, 15643; Heinrich, 1604L1019. Magnum opus musicum, 1579. RISM B/I 15643 (13) Source imprimée : Scotto 1575P711. (14) W1112 = 1542, (n°11) p.23 / Adriani Willaert musicorum omnium qui hactenus ... Ventis Liber Primus, 1542, Antonio Gardano. Originaux : Munich Bayerische Staats bibl. Mus. Sammlung // Vienna Ostereichische Nationalbiblioth., Mus. Sammlung // Wolfenbuttel, Herzog-August-Biblioth. Mus Sammlung. Toutes les parties. (15) Sources imprimées : Formschneider 15371; Montani & Neuber 15584; Le Roy & Ballard 1555 (contratenor à la BNF). (16) Sources imprimées : Mottet sex vocum typis nondum uspiam excusa, Berg, 1582. Moduli sex vocum, Paris Leroy-Ballard, 1588. Source manuscrite : München MS 2748. Un peu d’histoire Les instruments de la famille des violons, au XVIe siècle, faisaient partie du «Consort» de quatre à six violons de tailles différentes (de la basse au soprano) appelé à Venise «Con- certo di violini» ou “Sonadori nuovi” («joueurs d’instruments nouveaux») en opposition au groupe d’anciens instruments en vogue au XVe siècle (luth, harpe et vièle). D’ailleurs, vers 1530, les confraternités comme San Rocco remplacent leurs musiciens au profit de ces nouveaux ensembles de six violons. Il semble qu’une partie de cette transformation soit due aux trois migrations culturelles de l’Espagne vers l’Italie à la fin du XVe siècle : après la prise de pouvoir à Naples par les Aragonais, et la nomination du Pape Borgia, originaire de Valencia, qui arrive à Rome ac- compagné de ses musicienx et leurs «grosses guitares», c’est au tour des commautés juives de s’installer dans la plaine du Pò dans le nord de l’Italie, alors qu’ils sont chassés d’Espagne en 1492. Peter Holman démontre dans son livre «24 fiddlers» que les premiers joueurs de violons engagés par le Roi d’Angleterre en 1540 venaient de la région de Ve- nise et étaient d’origine juive. Ces deux nouvelles familles d’instruments à cordes frottées (violes et violons) se propa- gent entre 1495 et 1520 dans les cours princières italiennes : familles d’Este à Ferrara, Gonzaga à Mantova, etc. qui jouent la viole en position assise donc dénommés da gamba (de jambe) lors de soirées humanistes. Les violons, par contre, sont joués par des groupes de professionnels, entretenus par ces mêmes familles ou par des confraternités; ils ne peuvent donc s’assoir là où les codes de la hiérarchie ne les y autorisent pas et sont donc dénommés «da braccio» (de bras). La première mention de leur présence en groupe date de 1523 dans le Piémont italien, alors occupé par la Maison de Savoie. Un rapport de 1530 nous informe qu’un de ces en- sembles joue à l’inauguration de la nouvelle église de Brescia. Entre Venise et Milan, au XVIe siècle, ces citations ne cesse d’augmenter, nous informant de leurs présences régu- lières dans les processions, les fêtes et les cérémonies religieuses. Leur centre le plus re- nommé semble être alors Brescia. En Europe et plus particulièrement en Italie, la fin du XVe et au début du XVIe siècle, la pratique musicale était en grande partie centrée sur la polyphonie franco-flamande. D’ailleurs, force est de constater le nombre de compositeurs réputés nés en picardie ou en flandre, et morts dans le norde de l’Italie au terme d’une brillante carrière, ou de parcourir la liste des compositeurs publiés à Venise par les premiers éditeurs de musique (première parution musicale imprimée en 1501 par Petrucci). Le répertoire des joueurs de violon in- cluait toutes les formes musicales influencées par cette polyphonie, comme les Chanson parisiennes, les Motets polyphoniques, les Danses, les Laudes, ainsi que les inspirations locales commme les Frotoles puis les Madrigaux, sans oublier l’improvisation polyphonique sur des Cantus firmus dont le thème pouvait être soit d’inspiration religieuse, soit popu- laire. Alain Gervreau 2013 .
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