Capriola is using ca. 30 different recorders, a bass curtal (dulcian), a baroque bassoon, an alto shawm and a tenor shawm (nicolo). Below the instruments Capriola is using, are described.
A consort of 7 recorders built by Francesco Li Virghi
(Italy) after 16th century originals of the recorder builder named Hier.s,
that are kept in the 'Kunsthistorisches Museum' in Vienna. The consort is
tuned in a = 440 Hz. The instruments have a powerful and dens sound and are
very suitable for polyphonic music with parts of a limited range (one octave +
one sixth). The recorders (except for the bass in C)
are made from one piece of maple.
The consort consists of 1 soprano in c, 2 alto's (g, f), 2 tenors in c, 1 basset in
f
and a bass in c.
The consort has been purchased with a subsidy of the 'Prins Bernhard
Cultuurfonds'.
These special flutes are built by Francesco Li Virghi (Italy) after
recorders of Claude Rafi (fl.
1515-1553), who worked in Lyon (France). The Accademia Filarmonica in Bologna (Italy)
possesses two original recorders of Claude Rafi and eleven recorders built
by P.
Grece, akin to the recorders of Rafi.
The recorders are striking by their cylindrical form and their large range (more
than 2
octaves). The recorders have a sonorous and warm sound. The recorders are
made from one piece of wood and are tuned in a = 440 Hz.
Capriola has 2 soprano' s in c, 1 alto in f and 1 tenor in c.
Three alto recorders built by Jacqueline
Sorel (The Hague) after a recorder of Jacob Denner (1681-1735), kept in the Musikhistorisk Museum Kopenhagen (Denmark).
One alto recorder by Adriana Breukink (Enschede).
One alto recorder by Joël Arpin (France) after a model of Bressan.
One alto recorder by Aesthé/Jean-Luc
Boudreau (Canada)
One voice flute after Denner by Tim Cranmore
(England).
One sopranino, Hopf Praetorius
One soprano after Kynseker, Mollenhauer.
One soprano after Steenbergen, Moeck.
One soprano by Aesthé/Jean-Luc
Boudreau (Canada)
One alto by Aesthé/Jean-Luc
Boudreau (Canada)
One alto by Jacqueline
Sorel (The Hague).
One alto by Yoav Ran (Israël).
One alto after J.H.-J. Rottenburgh, Moeck.
Two tenors after J.H.-J. Rottenburgh, Moeck.
One basset in f by Ture Bergstrøm (Denemark), Renaissance after an instrument
in Brussels.
One basset in f by Zen-On.
One bass in c Classica, Küng.
The bass curtal (dulcian) is the bassoon of the 16th and 17th century. In this
period the bass curtal has been used widely in secular and church music.
The instrument has been used in vocal and instrumental music and in the 17th
century as a bass of the continuo.
Capriola is using the bass curtal as bass with high and low recorders and in concerts with choirs and other instrumentalists.
De bass curtal is built by Leslie Ross (New
York)
– first and second right – and is played by Frans Schröder.
The baroque bassoon Capriola is using has been built by Leslie Ross (New York)
– third and fourth right – after
an
instrument from Johann Heinrich Eichentopf (Leipzich, ca. 1730) in the Germanisches Nationalmuseum in Nüremberg.
The bassoon is played by Frans Schröder and Capriola uses it as the bass in
baroque pieces with recorders.
For accompanying choirs and playing together with other
instrumentalists Capriola sometimes uses also an alto of tenor shawm. The
shawm
is a predecessor of the oboe. Like others instruments in the Renaissance
shawms were built in families or consorts from soprano to great basses.
The instruments – alto shawm first right, tenor
shawm or nicolo second right – are built by John Hanchet (England) after historical
instruments. Michael Praetorius (1571-1621) has described such instruments in
his Syntagma Musicum
(1619).
The shawms are played by Frans Schröder.
19-06-2009