La Fenice Ensemble

In mythology, La Fenice ‐ the Phoenix ‐ is a fabulous bird, which was celebrated for consuming itself in flame then rising from its ashes. La Fenice is used here as a symbol of the influence of Italian music in Baroque Europe. It was also the title of a work by Giovanni Martino Cesare, an Italian composer and cornett player who moved north of the Alps in the early 17th century. Today this name has been adopted by a group of musicians, whose common desire is to share their passion for the sumptuous Venetian music of that time and bring out all its extraordinary vitality. The ensemble's repertoire nevertheless includes works by composers from all over Europe and covers more than two centuries of music; indeed, the cornett was commonly used in the early 16th century by Josquin Desprez and his contemporaries and it was still in use at J.S. Bach's time and Bach himself included it in several of his cantatas. The cornett can be found alongside the voice in sacred music throughout the Baroque period; it is mentioned in the registers of the Royal Chapel at Versailles until 1733. As for the sound it produces, Mersenne, tells us in his Harmonie universelle (Paris, 1636) that «it is like a sunbeam shining through the shadows or through the darkness when it is heard among the voices in churches, cathedrals or chapels... “. Anxious to respect the original instrumentation, particularly in vocal music, where the instruments shed light on the text through their symbolical import, the ensemble adapts to fit in with each programmes it performs. Coming from all over Europe, the Ensemble’s musicians are all internationally renowned soloists, playing with the best Early music ensembles in the world. Just after its establishment, the Ensemble “La Fenice” has won the first prize in two international competitions (Bruges, 1990 and Malmö, 1992). Since then, it has played in the most important festivals in France, Europe and all over the world. “La Fenice”’s recordings ‐ Opus 111, Virgin Classics, Ricercar ‐ are regularly awarded the most prestigious distinctions (Choc Monde de la Musique, Diapason d'Or, 10/10. Répertoire, 5 Etoiles. Goldberg…).

L'Ensemble La Fenice est en résidence à Auxerre. Il bénéficie du soutien du Ministère de la Culture et de la Communication (DRAC Bourgogne), de la ville d'Auxerre, du Conseil Régional de Bourgogne, du Conseil Général de l' Yonne et de ses mécènes: Lincet et la Société Générale.
 

Jean Tubery

Fascinated Italian music from the 17th century, Jean Tubéry, began his studies in Toulouse and at the Amsterdam Conservatoire as a recorder player, but later changed to specializing on the cornetto. After studying with Bruce Dickey at the Schola Cantorum Basiliensis, Tubéry shortly found plenty of work on the cornetto, working with the Clemencic Consort, Les Arts Florissants, Concerto Vocale, Hesperion XXI, and La Petite Bande among many others. In 1990, Tubéry founded his own group, Ensemble “La Fenice”, which has proven a dominant force in the European early music scene ever since, an unusual status accorded to a cornetti ensemble. Ensemble “La Fenice” has had a hand in many early music recordings, and has recorded for practically all of the European labels that trade in early music. However, the continuing series on Ricercar, The Heritage of Monteverdi, which features Ensemble “La Fenice” as the central point of focus, has been singled out as one of the group's, and therefore Tubéry's, finest achievements. Moreover, Jean Tubéry teaches the cornetto and gives classes of interpretation at the Conservatoire ‐ C.N.R. of Paris and at the Royal Conservatoire of Brussels. He has also been invited to hold master‐classes at the national conservatoires of Lyon and Luxemburg, at the European Vocal Center, at the Mannes college of New York, at the summer school of Connecticut (USA) and at the Schola Cantorum of Basel (Switzerland). In 2001, Jean Tubéry was appointed "Chevalier de l’ordre des Arts et des Lettres" by the French Minister of Culture Catherine Tasca. He has also been awarded the prestigious distinction «L. Bettencourtprize» for his work with the Namur Chamber Choir (2006). He has been voted «Personnality of the year» by Le Soir, the Belgian National Newspaper (2007). In 2008, he has been invited by the National Radio‐France Choir to work on sacred music of the 17th century. His recording of Charpentier’s “Te Deum” is awarded best version by the Classica Magazine in 2010. He is also invited conductor of the choir Arsys Bourgogne for different projects around the Italian Baroque (2010‐2013).