Bruno Cocset & Les Basses Réunies – La Nascita del Violoncello: Napoli – Bologna – Modena (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 02:16:45 minutes | 2,42 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
With this CD book, Bruno Cocset completes his Nascita del Violoncello . After a first part published in 2011, devoted to Bologna and his first repertoire for the cello (Vitali, Gabrielli, Jacchini) – reissued in this boxed set – he presents, with the musicians of Basses Réunies, a new recording devoted to Naples, from the Renaissance composer Diego Ortiz to the gallant and virtuoso cello of Lanzetti… offering two crossed views, two approaches that provide a better understanding of the identity of this instrument. The instruments used here – Cocset plays ten in all – bear witness both to this journey and to the bond that has bound him for many years to his luthier, Charles Riché.
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Guido Balestracci, Alessandro Tampieri, Bruno Cocset – Haydn: Divertimenti per il pariton a tre (2011)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:13:17 minutes | 692 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
Prince Nicolas Esterhazy, in whose service Haydn spent a large part of his life, was an enthusiastic champion of an instrument that was in the process of disappearing: this was the Baryton, a type of viola da gamba with sympathetic strings that were also able to be plucked.
Haydn composed many works for his employer’s use during the 1770s, amongst which were the 125 trios for Baryton with viola and cello.
The prince’s instrument and its case are shown on the cover of this recording and can be found in the collection of the Hungarian National Museum in Budapest.
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Bruno Cocset, Les Basses Réunies – Geminiani & The Celtic Earth: Give Me Your Hand (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:36 minutes | 1,29 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha Classics
Some of the Italian musicians who came to London to ‘make their fortunes’ found themselves influenced by the Celtic lands and their rich tradition of folk music. They were in their turn admired and sometimes even copied by their counterparts in the British Isles. This recording shows the outcome of that encounter. Lorenzo Bocchi was probably the first Italian cellist to settle in Edinburgh, in 1720.
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![Les Basses Réunies, Bruno Cocset, Guido Balestracci - Ortiz: Trattado de Glosas (2020) [Official Digital Download 24bit/192kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/09/15/s8n6e4n2jmtuc_600.jpg?resize=500%2C500&ssl=1)
Les Basses Réunies, Bruno Cocset, Guido Balestracci – Ortiz: Trattado de Glosas (2020)
FLAC (tracks) 24 bit/192 kHz | Time – 59:29 minutes | 2,30 GB | Genre: Klassiek
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha Classics
Born in Toledo, Diego Ortiz published the Trattado de Glosas in Rome in 1553. At that time, he was living in Naples in the service of Ferdinand Alvarez de Toledo, Duke of Alba and Viceroy of Naples. This region was deeply influenced by Spain. His treatise, published simultaneously in Spanish and Italian, is first and foremost a precious source for the art of Spanish instrumental performance. The second book of the Trattado de Glosas is performed here in its entirety, with Bruno Cocset and Guido Balestracci alternating in the Recercadas. As a counterpoint to this corpus mingling inventiveness and virtuosity, the programme includes short pieces by composers emblematic of the Golden Century of Spain, contemporaries of Ortiz: Antonio de Cabezón, Luis de Milan and Tomas Luis de Victoria. The process of reinterpreting this repertory is closely linked to the rediscovery of instruments that have disappeared and been recreated for the occasion: based on information gleaned from the luthiers Gasparo da Salò and Domenico Russo, the paintings of the Spanish master El Greco, the engravings in Ganassis treatise Regola rubertina and the few remaining and alas restored instruments from the period, five viols have been specially made by the luthier Charles Riché.
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Bruno Cocset, Les Basses Réunies – Boccherini: Sonate per il violoncello, Vol. 2 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:07:21 minutes | 1,23 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha Classics
Bruno Cocset pays tribute to one of the precursors of the Golden Age of the cello by recording five sonatas (no.5 in G major, no.2 in C minor, no.1 in F major, no.13 in A major, no.12 in B flat major), based on the manuscripts of the extensive Noseda Collection of the Milan Conservatory. He is accompanied by his partners from Les Basses Réunies, Maude Gratton (fortepiano), Bertrand Cuiller (harpsichord), Emmanuel Jacques (cello continuo) and Richard Myron (double bass).
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Bruno Cocset & Maude Gratton – Beethoven: Sonatas for Fortepiano and Cello, Vol. 1 (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 01:12:38 minutes | 2,47 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
Bruno Cocset, an eminent ambassador of the Baroque cello, here makes a teenage dream come true: to record the Beethoven sonatas. ‘When we rediscover it from the inside, this music overwhelms us: its art of the mise en abyme, its ability to deviate from the formal scheme, to dare to go as far as the uncontrolled surge of frenzy or the break in tempo. On the part of a champion of the metronome (Beethoven took a hand in its creation), this imperious seizure of freedom creates immeasurable spaces, thrusting performer and listener into unknown, unforeseen depths. The piano and the cello are bound together throughout the narrative by a fertile, pungent, exhilarating complementarity.’ At the fortepiano, a longstanding musical partner, Maude Gratton, plays two different instruments, chosen according to the character of each sonata: a Viennese piano after Johann Andreas Stein and an original John Broadwood from 1822, a model that circulated in Vienna and which Beethoven himself played. In order to tackle this repertory at the cusp of Classicism and Romanticism, Bruno Cocset commissioned a new cello from another faithful partner.
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