CONCERTO PALATINO—The Hamburger Ratsmusik

Palatino2 web200German Consort Music in the English Style

In the thriving 17th century trade city of Hamburg, instrumental music centered around the Ratsmusik. Though these council musicians were at first less highly regarded than church musicians, under the leadership of William Brade and Johann Schop this situation changed rapidly. Brade, in particular, coming to Hamburg from England by way of the court chapel of Christian IV in Copenhagen, transformed the idiom of English consort dance music into an elaborate personal style, incorporating italianate elements as well. In this program Concerto Palatino will put a spotlight on Hamburg by alternating these entertaining works of Brade and Schop with virtuoso ensemble music of the latter part of the century. Matthias wrote elaborate, highly expressive and fiendishly difficult sonatas for a mixed ensemble of string and wind instruments. They offer a stark contrast to the foot-tapping Galliards and the poignant Pavans of the earlier composers.

CONCERTO PALATINO: Bruce Dickey, cornetto; Charles Toet, Simen Van Mechelen, Joost Swinkels, Greg Ingles, trombones; Julie Andrijeski, violin; David Tayler, archlute; Hanneke van Proosdij, keyboards


June 11, 2016 1:00pm
St. Mark’s Episcopal Church2300 Bancroft Way

Buy Tickets: $46/40, $15 students under age 30 with ID

Concerto Palatino The names Bruce Dickey and Charles Toet are practically synonymous with the modern revival of the cornetto and the Baroque trombone and are largely responsible for the enormous advances that have been made in the last 20 years in playing standards on these instruments. In a collaboration of some 25 years, they have together trained a whole generation of cornetto and trombone players, many of whom have become regular members of Concerto Palatino.

While the core group is comprised of two cornetti and three trombones, this formation is frequently augmented by the addition of brass players, strings, or singers as necessary. Inevitably, much of their repertoire is sacred, as these instruments were a fixture of musical chapels in both the Catholic south and the Protestant north, from the time of the first flowering of Flemish polyphony in the early 16th century through their twilight years at the time of J.S. Bach, one of the last composers to employ them in a serious way.

Concerto Palatino frequently collaborates with other leading ensembles, in particular Cantus Cölln (Konrad Junghänel), Collegium Vocale Ghent (Philippe Herreweghe), La Dolcezza (Veronika Skuplik), the Amsterdam Baroque Orchestra (Ton Koopman), and the Bach Collegium Japan (Masaki Suzuki).

Concerto Palatino places a high priority on unearthing neglected gems of music history and giving them a place in the concert hall and record catalogs alongside the works of established masters. Thus, in addition to highly acclaimed recordings of Schütz, Gabrieli, and Monteverdi, they have made premiere recordings of the Marian Vespers of Francesco Cavalli, the Missa Maria Concertata of Christoph Strauss, and Palestrina’s Missa sine nomine preserved in a manuscript of J. S. Bach.

Their numerous recordings for EMI Reflexe, Accent, and harmonia mundi France have received high acclaim. In particular, a major series of recordings together with Cantus Cölln (Vespers of Monteverdi and Rosenmüller, Schütz’ Psalmen Davidsand Symphoniae sacrae, the Selva Morale e spirituale of Monteverdi) has won numerous prestigious awards.

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