Julie Roset

Julie Roset, a young French soprano from Avignon, immediately attracted attention with her first recital for Ricercar (Nun danket alle Gott with Clematis) and went on to record a recital of works by Sigismondo d'India with Mariana Flores that met with great critical acclaim. In this new recording she tackles several of Handel's masterpieces on religious themes: his Salve Regina, Gloria and the motet Silete venti were all composed at the time when the young Handel had been inspired to new heights by his discovery of Roman musical life.

Julie Roset, a young French soprano from Avignon, immediately attracted attention with her first recital for Ricercar (Nun danket alle Gott with Clematis) and went on to record a recital of works by Sigismondo d'India with Mariana Flores that met with great critical acclaim. In this new recording she tackles several of Handel’s masterpieces on religious themes: his Salve Regina , Gloria and the motet Silete venti were all composed at the time when the young Handel had been inspired to new heights by his discovery of Roman musical life.

An exceptional amount of musical activity took place in the court of Ferrara during the latter years of the 16 th century, in particular thanks to a remarkable trio of female voices who had been trained by Luzzasco Luzzaschi, the court’s maestro di cappella. To hear them was a privilege that Alfonso d' Este allowed his guests only briefly and infrequently. Their repertoire was kept secret and was finally published — and then only in part — in 1601. The singers of La Néréide here devote their first recording to this collection in its entirety, reconstructing the conditions in which these works were created with harpsichord, viol and lute accompaniment: the harpsichord would have been played by Luzzaschi himself, whilst the three singers mastered the other instruments with as much skill as their voices.

With its ciaconna bass, Hammerschmidt’s sacred concerto Nun danket alle Gott perfectly exemplifies the programme of this recording devoted to the influences of the Italian Baroque on the works of seventeenth-century Lutheran composers. The vast majority of the repertory gathered here comes once again from the exceptionally rich library assembled at the end of the seventeenth century by Gustav Düben, organist of the German Church in Stockholm. His collection contains the only known copy of a Confitebor tibi Domine by Claudio Monteverdi. Other composers such as Bernhard and Rosenmüller had very close links with Italy and were among those who helped to disseminate Italian practices in the German-speaking lands.