Alain Gervreau
From my passion for music as a "modern" cellist, I have learned more about my relationship with the history of my instrument, going back in time through the 18th and 17th centuries to the birth of violins in the 16th century.
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Papers by Alain Gervreau
avec une étude du style et des ornements de Lorraine Brosse et Shiho Nishimura
A Critical and Practical Edition including information on style and ornamentation
Lorraine Brosse - Shiho Nishimura
Mémoire de Master - Master’s Thesis (2020) Professeur référent - Master Thesis Advisor Alain Gervreau
Koninklijk Conservatorium Brussel
Avec une portée vierge pour noter votre propre version sous la polyphonie
Practical tips and historically-informed references
With extra staves to note your own versions under the polyphony
Avec des exemples de / With examples by
Giovanni Bassano (1591) - Francesco Rognoni (1620)
Ancor che col partire - Susane un jour Pulchra es amica mea - Vestiva i colli
Edition soutenue par le département de recherche Published with support from the research department du Conservatoire Royal Flamand de Bruxelles of the Brussels Royal Flemish Conservatory
Promotors: Bruno Forment : Prof. Vrije Universiteit Brussel. Marc Vanscheeuwijck : Prof. University of Oregon. Academic year 2013-2014
The research carried out by Peter Holman and Rodolfo Baroncini in the 1990s has made it possible to recover from the oblivion of history the Compagnie di violini – ensembles of three to six instruments from the violin family. In the Sixteenth Century, these groups of violini were comprised of professional instrumentalists assembled into guilds and took part in many festive, secular and religious activities.
From the 1530s, and up to the 1580-90s, every town in Northern Italy had at least one violin ensemble, which was invited to play at nobles’ receptions, princes’ balls, meetings and political negotiations between influential figures.
The term Sonadori, which I have chosen for the ensemble I created for my artistic doctoral performance, finds its origins in Venice where the confraternities ran and provided for groups of singers and instrumentalists on a permanent basis.
In order to re-create the dulcet tones described in accounts of festivities, which were nevertheless sufficiently powerful to be heard at the other end of a ballroom, the musician of the ensemble and I have worked with several stringed-instrument makers on reconstructing new Renaissance instruments.
Concert videos can be viewed on the following webpage: https://vimeo.com/sonadori (visited on 4/01/2025).
Books by Alain Gervreau
avec une étude du style et des ornements de Lorraine Brosse et Shiho Nishimura
A Critical and Practical Edition including information on style and ornamentation
Lorraine Brosse - Shiho Nishimura
Mémoire de Master - Master’s Thesis (2020) Professeur référent - Master Thesis Advisor Alain Gervreau
Koninklijk Conservatorium Brussel
Avec une portée vierge pour noter votre propre version sous la polyphonie
Practical tips and historically-informed references
With extra staves to note your own versions under the polyphony
Avec des exemples de / With examples by
Giovanni Bassano (1591) - Francesco Rognoni (1620)
Ancor che col partire - Susane un jour Pulchra es amica mea - Vestiva i colli
Edition soutenue par le département de recherche Published with support from the research department du Conservatoire Royal Flamand de Bruxelles of the Brussels Royal Flemish Conservatory
Promotors: Bruno Forment : Prof. Vrije Universiteit Brussel. Marc Vanscheeuwijck : Prof. University of Oregon. Academic year 2013-2014
The research carried out by Peter Holman and Rodolfo Baroncini in the 1990s has made it possible to recover from the oblivion of history the Compagnie di violini – ensembles of three to six instruments from the violin family. In the Sixteenth Century, these groups of violini were comprised of professional instrumentalists assembled into guilds and took part in many festive, secular and religious activities.
From the 1530s, and up to the 1580-90s, every town in Northern Italy had at least one violin ensemble, which was invited to play at nobles’ receptions, princes’ balls, meetings and political negotiations between influential figures.
The term Sonadori, which I have chosen for the ensemble I created for my artistic doctoral performance, finds its origins in Venice where the confraternities ran and provided for groups of singers and instrumentalists on a permanent basis.
In order to re-create the dulcet tones described in accounts of festivities, which were nevertheless sufficiently powerful to be heard at the other end of a ballroom, the musician of the ensemble and I have worked with several stringed-instrument makers on reconstructing new Renaissance instruments.
Concert videos can be viewed on the following webpage: https://vimeo.com/sonadori (visited on 4/01/2025).