In alto mare, in alta montagna.
En haute mer, en haute montagne.
This Italian expression applies the same adjective to sea and mountain; it evokes at the same time their physical remoteness and the risks involved when exploring them.
The cornetto is definitely one of the most important musical instruments of the 16th and 17th century. It is made of wood and covered with leather or parchment and was considered the instrument most capable of imitating the human voice. And, just like the voice, it likes to explore the higher regions. Mersenne’s encyclopedia describes the cornetto as a “ray of light going through the clouds”.
InAlto aims to explore both vocal and instrumental music, bringing them to a sort of dialogue.
Famous composers of the baroque in Europe such as Monteverdi, Schütz or Praetorius left us magnificent music cultivating this taste for risk taking, this worship of the high register.
Nowadays, a real danger exists of failing to convince with music that does not feel like ours anymore. By a thorough study of the available sources and by selecting the best “historically informed” partners and collaborators, InAlto seeks to bring out the best in the repertoire they play. Eventually, historical musical intruments are musical instruments as well, InAlto considers them as modern tools of expression.
Sopranos : Alice Foccroulle, Axelle Bernage, Beatriz Mayo Felip, Perrine Devillers
Altos: Leandro Marziotte, Stéphanie Leclercq, Tobias Knaus
Tenors : Reinoud van Mechelen, Olivier Coiffet
Bass : Geoffroy Buffières, Joachim Höchbauer, Guillaume Olry
Cornetti : Lambert Colson, Sarah Dubus, Marleen Leicher
Violin : Marie Rouquié, Gabriel Grosbard, Ortwin Lowyck
Trombones : Guy Hanssen, Bart Vroomen, Adam Woolf, Charlotte Van Passen, Susanna Defendi, Claire McIntyre, Victor Belmonte
Dulcian : Anaïs Ramage
Organ and harpsichord : Marc Meisel
Lutes and Guitar : Justin Glaie, Solmund Nystabakk, Pieter Theuns, Christoph Sommer, Simone Vallerotonda
Percussions : Maxime Fiorani