"The musicians...provide striking contrasts in timbre and texture. The results are delightful. The hybrid melding of modern and period instruments works beautifully, especially give the musicians' scrupulous and imaginative attention to phrasing, vibrato, articulation and ornamentation...the solo bassoon playing of Mathieu Lussier...couldn't be more refined, quicksilver or swashbuckling. [His] Musica Franca colleagues are sophisticated, animated partners."
The Gramophone ~ August, 2006
"[Musica Franca's] interpretations and instrumentation are exactly what this music needs...Musica Franca has taken these little-known sonatas of Boismortier and dressed them up with superb technique, great energy, and charming musicianship. I like this recording very much"
American Record Guide - July, 2006
"[this disc is a] quite extraordinary recording...The performances are stunning. Lussier...performs some almost unbelievable stunts, nonchalantly pulling off lengthy passages of rapid fingering and/or tonguing that require the very heights of virtuosity. He is joined by Nadina Mackie Jackson, a player of comparable quality, and possessed of a particularly beautiful singing tone. These two carol together in the most utterly beguiling way. The standard of intonation is uncannily good, resulting in many really gorgeous textures. I urge you to try this – delightful music played with consummate skill, and recorded to perfection."
MusicWeb International - June, 2006
“…an excellent recording… high level interpretive skills by two wonderful bassoonists.” The Double Reed – July, 2006
"The performances are light and transparent... fast movements wonderfully weightless... These players clearly have a great affection for this entire repertoire and the instruments chosen to express it... freedom with tempo and phrasing... deep feeling to the music...Tone throughout the bassoons' register is delicious... This is ensemble playing of great mutual respect and undeniable musicality."
− Alex Baran, WholeNote Magazine, February, 2006
Musica Franca
The amalgam of seemingly separate elements is a theme for this group. Our name is inspired by the synthesis of French and Italian styles through the music of our two composers, those great friends of the bassoon, Michel Corrette and Joseph Bodin de Boismortier.
As the the cultural hub of Europe, Paris seethed with artistic activity and the inevitable clash of ideas. Artistic and political perspectives were entwined resulting in fierce exchanges of polemical pamphlets, the medium for invective of the day. And yet, Corrette and Boismortier wrote music that is more genial than confrontational, devoid of defiance yet possessing a certain buoyant confidence.
While they share certain qualities, Corrette and Boismortier are also distinctly different composers. Corrette's six sonatas of Les Délices de la Solitude and Le Phénix are written higher in the range of the bassoon and the overall spirit is openly playful and inventive. Many of the movements reveal an all-or-nothing passion that is never melancholy or rancorous. Even the titles of the works are poetically suggestive rather than explanatory. The Boismortier sonatas show an infinite variety of colour and gesture, a larger world hinted at through the medium of miniatures. Incisive subtlety and feline grace define these pieces while demanding the utmost virtuosity.
In perusing the five volumes of sonatas by Boismortier for two bass voices, we have chosen pieces that interested us the most. These offer a perspective on the evolution of Boismortier's writing and style throughout his entire career. We present the complete works for bassoon by Corrette in Volume II of Musica Franca, and add a organ concerto in homage of his reputation as a virtuoso on this instrument. Using the facsimile editions of the original printings has allowed us to come as close as possible to realizing the original intentions of the composer. At the same time, we have also sometimes taken the liberty of varying the instrumentation, sometimes even within the same sonata, in the search for the widest range of tonal colours.
In the works of both these composers, the mere notes on the page have a deceptive simplicity. This music immediately reveals the spirit of the performer, giving full value to the concept of "interpreter." While all of us are, including our engineer and producer, experienced performers on historical instruments, we have chosen to make this recording on modern instruments. Rather like the musicians of the eighteenth century, it was in the spirit of pleasure in music-making that this recording project was conceived.
Joseph Bodin de Boismortier (1689''1755)
While Joseph Bodin de Boismortier left a considerable body of work and was one of the principal figures in the cultural life of eighteenth century Paris, very little is known about his life.
It has only recently been established with certainty that this prolific composer was born in Lorrraine at Thionville in 1689. With slender evidence concerning his childhood, even the most dedicated researchers have been reduced to conjecture in the effort to explain his move in 1713 to Perpignan in the Catalan region where he was a receiver in the Royal Tobacco Control for the troops based in Roussillon.
Both his musical education and his journey from distant Perpignan towards the Parisian musical scene are equally undocumented. Arriving in Paris in 1723, Boismortier quickly obtained the publishing rights that allowed him to produce four to five collections per year. These publications afforded rapid financial returns that allowed him and his household to live independently, with the support of neither a prince nor duties as a church organist.
Thus unfettered, Boismortier easily navigated the musical echelons of Paris. Though known primarily for his instrumental works, he also wrote three opera''ballets, "Les Voyages de l’Amour" (1736), "Don Quichotte" (1743) and "Daphnis et Cholë" (1747). All of these were presented by the prestigious Royal Academy of Music. Boismortier continually adapted to public demand and produced collections for all of the instruments that were currently in vogue in France, with the exception of organ and lute.
Boismortier, who had spent his whole musical maturity in successfully melding the French style with the inevitable rise of the Italian, finally withdrew from musical life in 1752, a victim of the "Querelle des Bouffons". This increasingly acrimonious debate between men of letters and music resulted in flurries of pamphlets that decried or defended the older French style and the increasing influence of Italian artists in Paris. Political attack was hidden within artistic disputes to the point of challenging the foundations of royal authority. Support of Italian music came to represent free thinking individualism and a weakening of the monarchy. Perhaps exhausted by the debate, Boismortier died at his estate G’tinellerie that he acquired through the proceeds of his successful career.
While producing an abundance of approachable and seemingly simple music, Boismortier also freely explored the different musical styles that were in fashion at the time. He passed with ease through the dances of the French suite and lively movements of the Italian sonata. Boismortier was the first French composer to write a concerto for a solo instrument (Concerto in D Major, Opus 26 for Violoncello, Viol or Bassoon) in the manner of the Italian concertos. Despite the clacking of jealous tongues over the profusion of Boismortier’s works, he harvested all styles and left a richly varied and original body of work.
Perhaps it is necessary to consider Boismortier’s provincial background, and the small circles of amateur musicians with whom he associated. It is important to note that in the eighteenth century, the term "amateur" had none of the faintly pejorative connotations that the word holds in our time. Musical instruction was an integral part of the education of the bourgeois and nobility and musical performance was a highly visible form of entertainment in high society. Boismortier, along with Blavet, Baudot, La Barre and many others, was a frequent guest in the salons of noble women and wealthy gentility. In these salons, the works were presented in concert by the composers themselves or by another invited guest, and at times even the host would be the performer. The high attendance at these events provided immediate publicity and was in effect was the most effective method of distribution for the time, an indispensable tool for the completely self''employed composer. These could be the reasons that led him to write such a large body of chamber music.
Another standard marketing method of the time, used by Boismortier and many other eighteenth century composers, was to indicate that a particular collection of music could be played on several different instruments. In the five collections from which we have drawn the repertoire for this recording, the title pages suggest, in differing orders of priority depending on the work, the cello, viol or bassoon. The viol, which reigned supreme in the previous century, was starting to lose ground to the cello, recently arrived from Italy. The bassoon, the bass voice of the woodwinds, was going through technical developments that permitted it to take an equal place as a solo voice with the bass instruments of the string family.
If the six sonatas of Opus 26, dedicated to the cellist Labbé, show a style of writing that is particularly suited to the cello, the sonatas of Opus 14, 49 and 66 seem perfectly suited to the expressive and technical potential of the bassoon. In these sonatas, the allemandes and courantes from the French suite are interspersed with sicilienes and largos, blending disparate styles into one language for the greater pleasure of the performer and listener.
Rather like the musicians of the eighteenth century, it was in the spirit of pleasure in music''making that this recording was conceived. In perusing the five volumes of sonatas by Boismortier for two bass voices, we have chosen pieces that interested us the most. These offer a perspective on the evolution of Boismortier’s writing and style throughout his entire career. Using the facsimile editions of the original printings has allowed us to come as close as possible to realizing the original intentions of the composer. At the same time, we have also sometimes taken the liberty of varying the instrumentation, sometimes even within the same sonata, in the search for the widest range of tonal colours.
An inspired orchestrator and alchemist of sound, we like to think that Boismortier would have appreciated our new reading of his music, in particular the unusual alloy of lute and contrabassoon that gives the bass lines a surprising depth and colour.
Perhaps it is necessary to consider Boismortier’s provincial background, and the small circles of amateur musicians with whom he associated. It is important to note that in the eighteenth century, the term "amateur" had none of the faintly pejorative connotations that the word holds in our time. Musical instruction was an integral part of the education of the bourgeois and nobility and musical performance was a highly visible form of entertainment in high society. Boismortier, along with Blavet, Baudot, La Barre and many others, was a frequent guest in the salons of noble women and wealthy gentility. In these salons, the works were presented in concert by the composers themselves or by another invited guest, and at times even the host would be the performer. The high attendance at these events provided immediate publicity and was in effect was the most effective method of distribution for the time, an indispensable tool for the completely self''employed composer. These could be the reasons that led him to write such a large body of chamber music.
Another standard marketing method of the time, used by Boismortier and many other eighteenth century composers, was to indicate that a particular collection of music could be played on several different instruments. In the five collections from which we have drawn the repertoire for this recording, the title pages suggest, in differing orders of priority depending on the work, the cello, viol or bassoon. The viol, which reigned supreme in the previous century, was starting to lose ground to the cello, recently arrived from Italy. The bassoon, the bass voice of the woodwinds, was going through technical developments that permitted it to take an equal place as a solo voice with the bass instruments of the string family.
If the six sonatas of Opus 26, dedicated to the cellist Labbé, show a style of writing that is particularly suited to the cello, the sonatas of Opus 14, 49 and 66 seem perfectly suited to the expressive and technical potential of the bassoon. In these sonatas, the allemandes and courantes from the French suite are interspersed with sicilienes and largos, blending disparate styles into one language for the greater pleasure of the performer and listener.
Rather like the musicians of the eighteenth century, it was in the spirit of pleasure in music''making that this recording was conceived. In perusing the five volumes of sonatas by Boismortier for two bass voices, we have chosen pieces that interested us the most. These offer a perspective on the evolution of Boismortier’s writing and style throughout his entire career. Using the facsimile editions of the original printings has allowed us to come as close as possible to realizing the original intentions of the composer. At the same time, we have also sometimes taken the liberty of varying the instrumentation, sometimes even within the same sonata, in the search for the widest range of tonal colours. "Boismortier was an inspired orchestrator and alchemist of sound and we like to think that he would have particularly appreciated the unusual alloy of lute and contrassoon in the the bass line."
'' Mathieu Lussier
Mathieu Lussier
Mathiue Lussier has gained equal prominence as a soloist, chamber musician, orchestral bassoonist and composer. One of the most active bassoonists in North America in the area of early music, he is the principal bassoonist of Violons du Roy and appears regularly with the Arion Ensemble of Montreal, Tafelmusik Baroque Orchestra, the Boston Early Music Festival and Apollo’s Fire of Cleveland.
As a soloist, his newest release has attracted rave reviews and features works of Fran'*ois Devienne for bassoon and strings, including Mathieu’s own arrangement of Devienne’s comic opera, Les Visitandines. Other recordings include Vivaldi’s Double Concerto for Oboe and Bassoon in G Major, the Graupner Concerto in B flat Major and a recording of Les Délices de la Solitudes with the viol ensemble, Les Voix Humaines. All of these recordings are on the ATMA label.
Devoting a large portion of his time to chamber music, Mathieu is also a member of Pentaèdre Woodwind Quintet, the Caliban Quartet of Bassoonists and now Musica Franca.
Mathieu has appeared as a soloist and chamber musician at festivals in Lanaudière, Orford, Ottawa, Lamèque, Bic Islands, Baie''des''Chaleurs and Maison Trestler and has given solo recitals in Munich and Vienna.
As a composer, Mathieu’s works are performed regularly and have received wide critical praise. Two of his bassoon quartets, Bassango and Valstango, have been recorded by the Caliban Quartet on BIS Northern Lights label. Nadina Mackie Jackson has recorded the Five Caprices for solo bassoon, Le Rêve de l’Opritchnik for piano & bassoon and the Four Love Songs. His commissioned works include Promenade à Venise for soprano and baroque ensemble and Old Spanish from Cuba, commissioned by Tafelmusik.
He teaches baroque bassoon at McGill University and modern bassoon at the University of Quebec at Montreal.
"Mathieu Lussier is a superb soloist, capable of horn''like depth"
'' The Montreal Gazette, 2005
Nadina Mackie Jackson
Nadina is a solo bassoonist and artist based in Toronto. Her career has taken her around the world as a soloist, chamber player, orchestral musician and teacher. She gives frequent recitals, both solo and with the pianist David Swan and has released three critically acclaimed solo CDs on her own label, Odd Bird Studios: Notes from Abroad, 2004, Ever After, 2003 and Twelve Fantasias, 2002 by G. P. Telemann, 2002.
An avid chamber musician, Nadina has founded several chamber music groups during her career, notably the Caliban Quartet of Bassoonists which has released three CDs: Bassoonatics,1997, Musica Viva; Feast, 2000, BIS Northern Lights; Caliban Does Christmas, 2005 ATMA. Nadina has performed at many festivals, including the Montreal Baroque Festival, Ottawa Chamber Festival, Domaine Forget and the Edinburgh Festival.
As an historical bassoonist, Nadina plays and records with the Aradia Ensemble on several recordings appearing on the Naxos label. Nadina has also performed with Ensemble Caprice, Tafelmusik, the Handel & Haydn Society of Boston and Apollo’s Fire. As a modern orchestral bassoonist, Nadina is a frequent guest with Violons du Roy, and played for many years with the Montreal Symphony Orchestra, participating in over 50 recordings, and as principal bassoonist with the Canadian Opera Company Orchestra.
The daughter of the log''building pioneers and writers, B. Allan Mackie and Mary Mackie, Nadina began her life on a mountain ranch in the wilds of British Columbia. At the age of sixteen, Nadina started her tutored studies with Christopher Millard at the University of British Columbia and continued at the Curtis Institute of Music in Philadelphia with Bernard Garfield and Sol Schoenbach. Nadina toured France with her woodwind quintet and won positions with two orchestras before her graduation in 1981.
Nadina has taught at several festivals, including Domaine Forget, the National Youth Orchestra of Canada and the Camp Musical des Laurentides and has given masterclasses in Philadelphia, Bloomington, Santiago and Toronto. She has taught for over a decade at the University of Toronto and is also on faculty at the Glenn Gould School of the Royal Conservatory of Music in Toronto. Before that, she taught at McGill University for ten years, and has former students in several of Canada’s major orchestras.
Nadina enjoys bringing her performances to unusual venues, particularly natural settings, gardens, small historical churches and one room schools. Nadina believes that the future of classical music lies solely in the hands of the musicians who love it the most, and who live to perform the masterworks of all periods.
"Jackson performs with effortless musicality and integrity, making the bassoon sound like a human voice..."
'' The National Post, 2004
Fraser Jackson has been the Contrabassoonist of the Toronto Symphony Orchestra since 1990 and has performed and toured with both the National Symphony Orchestra (Washington DC) and the Royal Concertgebouw Orchestra.
A founding member of The Caliban Quartet, Fraser is an active chamber musician, playing annually at the Ottawa International Chamber Music Festival. In July, 2002, he was the artist-in-residence at the 5th International Contrabassoon Festival in Park City, Utah
Fraser also performs on period contrabassoons and has appeared with Toronto’s Aradia Baroque Orchestra in recent recordings for the Naxos label and with the Montreal Baroque Band on ATMA.
Head of Winds, Brass and Percussion, Fraser also teaches bassoon and chamber music at the Glenn Gould School of the Royal Conservatory of Music. Also a teacher at the University of Toronto, he has been a coach with the Toronto Symphony Youth Orchestra and the National Youth Orchestra of Canada.
A native of Ottawa, he obtained his music degrees from the Eastman School of Music in Rochester, New York, and the University of Southern California in Los Angeles.
"Fraser Jackson’s contra playing is, as usual, dazzling and sonorous."
'' The Double Reed, 2001
Richard Paré
A founding member of the virtuoso chamber orchestra, Les Violons du Roy, Richard Paré is equally active as both harpsichordist and organist. With this group he has toured Europe, Marroco, the United States and Canada and participated in over 12 critically acclaimed recordings on the Dorian label.
As a soloist and chamber musician, Richard performs with many outstanding musicians and is widely recorded by the CBC Radio. He is the harpsichordist for the Quebec Symphony and organist of Saints''Martyrs''Canadiennes church in Quebec City.
Richard graduated from the Conservatoire de Musique in Quebec City with first prizes in organ, harpsichord and chamber music and now teaches organ, harpsichord and early music at Laval University.
Sylvain Bergeron
One of Canada’s most accomplished lutenists, Sylvain Bergeron gives more than sixty concerts per season at home and abroad in the company of renowned soloists, early music ensembles and orchestras. Voted "Personality of the Year"î in 1995 by the cutting edge arts magazine Voir, Sylvain has participated in over forty recordings and was awarded the Opus Prize in 1998 for La Nef’s recording of MontsÈgur.
As a member of Ensemble Anonymus from 1980 to 1990, he performed in all the productions of the ensemble, and was the musical director of three of them. In 1991 he co''founded La Nef and is one of the three artistic directors. Since then, he has been at the helm of many productions such as Perceval, the Quest for the Holy Grail, Montsegur, The Garden of Delights, and Music for Joan the Mad.
Born in Quebec City, Sylvain pursued advanced studies of the lute family in the United States and Europe, working with such teachers as Paul O’Dette and Eugène Dombois. The recipient of many awards and honours, Sylvain teaches lute and the medieval ensemble at McGill University.
"Sylvain Bergeron is a supremely refined, elegant, cerebral musician who ornaments more sparingly than some of his peers, and he seems to find a spiritual home in these haunting, restrained''yet''achingly''lyrical pieces."
'' The Ottawa Citizen, 2005
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