B-20
WORK
Early Music concerts in Belgium in the 19th and 20th centuries
Organology›
Brussels - Mahillon 1226
Notes›
27-12-1881, Annuaire du Conservatoire Royal de Bruxelles 1883 : Audition d'instruments anciens faisant partie du musée [MIM]. Popular Christmas songs of the 18th century, sung by 20 young girls of the elementary solfege class. accompanied by organ and cornett (museum catalogue no. 453 (organ) and no. 473 (cornettino)). Written in L'Echo Musical of 29.12.1881 is the name of the cornett player, M. Hennicot, who "managed to overcome perfectly the large difficulties that this instrument offers".
Graces soient rendues
Il est né, le divin enfant
13-01-1887: Annuaire du Conservatoire Royal de Bruxelles 1887. Audition d'instruments anciens faisant partie du Musée.
G. Huberti - Marches populaires, dans le style ancien. s-ob (3), a-ob (2), t-ob (1), bombarde (1), cnto (2), trb (1). This is followed by an explenation of the choice of instrumentation, inspired by Van Alsloot's painting of "la procession de tous les ordres religieux de la ville d'Anvers, le jour de la fête de la Vierge du Rosaire" and a painting of Antoine Sallaert. This text also cites the famous Mersenne quote on the cornett: "leur son est semblable à l'éclat d'un rayon de soleil qui paraît dans l'ombre ou dans les ténèbres, lorsqu'on l'entend parmi les voix dans les églises".
30-03-1890: Annuaire du Conservatoire Royal de Bruxelles 1890. Performance of Gluck's Orphée (French version) at the Conservatoire Royal. The libretto is written out and as a footnoot to the first choir is written: "The accompaniment of this choir contains a cornett, and instrument that has fallen in disuse since a century. M. V. Mahillon has reconstructed it for the use of the Conservatoire; see pp. 142, 143 for an explanitory note" and this note states: "The introduction of the cornett in the orchestra of the Conservatoire demanded perfection of this instrument. The use of keys and other improvements of contemporary instrument building have made disappear its issues and have permitted the old instrument to present itself worthily besides the other sonorities of the modern orchestra."
22-06-1935: Exposition Universelle et Internationale de Bruxelles, section de l'art ancien: La Musique en Belgique au XVe Siècle par le groupe Pro Musica Antiqua. The members of this group are mentioned, including the cornett player Théo Charlier. Probably trumpet player, teacher and composer of the (for trumpet players) famous Solo de Concours (1900) and 36 Études Transcendantes.
The following pieces were played with cornett in its instrumentation:
Loyset Compère - Chant de carnaval : Nous sommes de l'ordre de Saint Babuyn. (Odhecaton, Venice: Petrucci, 1501). Coro 1: cnto (1), bombarde (2), trb (1), tambourin basque (1). Coro 2: s-rec (1), arp (1), vla da gamba (1), lute (1), triangle (1).
Antoine Brumel - Agnus Dei from missa Bergerette Sovoyenne. (Missae Brumel, Venice: Petrucci, 1503). First Agnus: Small choir, cnto (1), bombarde (2), trb (1). Second Agnus: vocal trio. Third Agnus: small choir, cnto (1), trb (1), bell (1).
Graces soient rendues
Il est né, le divin enfant
13-01-1887: Annuaire du Conservatoire Royal de Bruxelles 1887. Audition d'instruments anciens faisant partie du Musée.
G. Huberti - Marches populaires, dans le style ancien. s-ob (3), a-ob (2), t-ob (1), bombarde (1), cnto (2), trb (1). This is followed by an explenation of the choice of instrumentation, inspired by Van Alsloot's painting of "la procession de tous les ordres religieux de la ville d'Anvers, le jour de la fête de la Vierge du Rosaire" and a painting of Antoine Sallaert. This text also cites the famous Mersenne quote on the cornett: "leur son est semblable à l'éclat d'un rayon de soleil qui paraît dans l'ombre ou dans les ténèbres, lorsqu'on l'entend parmi les voix dans les églises".
30-03-1890: Annuaire du Conservatoire Royal de Bruxelles 1890. Performance of Gluck's Orphée (French version) at the Conservatoire Royal. The libretto is written out and as a footnoot to the first choir is written: "The accompaniment of this choir contains a cornett, and instrument that has fallen in disuse since a century. M. V. Mahillon has reconstructed it for the use of the Conservatoire; see pp. 142, 143 for an explanitory note" and this note states: "The introduction of the cornett in the orchestra of the Conservatoire demanded perfection of this instrument. The use of keys and other improvements of contemporary instrument building have made disappear its issues and have permitted the old instrument to present itself worthily besides the other sonorities of the modern orchestra."
22-06-1935: Exposition Universelle et Internationale de Bruxelles, section de l'art ancien: La Musique en Belgique au XVe Siècle par le groupe Pro Musica Antiqua. The members of this group are mentioned, including the cornett player Théo Charlier. Probably trumpet player, teacher and composer of the (for trumpet players) famous Solo de Concours (1900) and 36 Études Transcendantes.
The following pieces were played with cornett in its instrumentation:
Loyset Compère - Chant de carnaval : Nous sommes de l'ordre de Saint Babuyn. (Odhecaton, Venice: Petrucci, 1501). Coro 1: cnto (1), bombarde (2), trb (1), tambourin basque (1). Coro 2: s-rec (1), arp (1), vla da gamba (1), lute (1), triangle (1).
Antoine Brumel - Agnus Dei from missa Bergerette Sovoyenne. (Missae Brumel, Venice: Petrucci, 1503). First Agnus: Small choir, cnto (1), bombarde (2), trb (1). Second Agnus: vocal trio. Third Agnus: small choir, cnto (1), trb (1), bell (1).