Le Consort
Le Consort
Saturday, March 14, 2026 at 4pm
Our ensemble, formed in Paris in 2015, is dedicated to Baroque music, and more specifically to the trio sonata genre. Since our beginnings, it’s a repertoire we’ve worked intensively on, played and recorded, and which we perform with enthusiasm, sincerity and modernity. The quintessence of Baroque chamber music, we strive to bring a personal, dynamic and colorful interpretation to this genre. Consisting of two violins, a cello and a harpsichord, Le Consort has already developed numerous projects and collaborations and is considered “one of the major players on the French Baroque scene” (Diapason, October 2019).
PROGRAM: Trio Sonata Soirée
Michel Pignolet de Montéclair (1667-1737)
Plainte en dialogue, from Concert for Two Flutes no. 2 in E minor (composed 1723)
Jean-François Dandrieu (1681-1738)
Trio sonata in A major, op. 1, no. 4 (composed 1705)
Adagio
Allegro
Vivace
Largo
Vivace
Tomaso Albinoni (1671-1751)
Sonata in D minor, op. 1, no. 1 (composed 1694)
Grave
Allegro
Largo
Allegro
Georg Philipp Telemann (1681-1767)
Lilliputsche Chaconne, from Intrada-Suite in D major, TWV 40:108, “Gulliver Suite” (composed 1728)
Excerpts from “Trietti Methodici” (composed 1731)
Antonio Vivaldi (1678-1741)
Trio Sonata in A major, op. 1, no. 9 (RV 75) (composed 1703)
Adagio
Allemanda: Allegro
Biagio Marini (1594-1663)
Affetti musicali, op. 1, no. 6: Sinfonia grave a 3, “La Zorzi” (composed 1617)
Tarquinio Merula (1595-1665)
Canzoni, book 3, op. 12 (composed 1637)
No. 24, “Ballo detto Pollicio”
No. 20, “Ciaconna”
Giovanni Battista Reali (1681-1751)
Trio sonata in D minor, op. 1, no. 12, “La Folia” (composed 1709)
INTERMISSION
Heinrich Ignaz Franz Biber (1644-1704)
Passacaglia in G minor, C 105 (composed around 1676)
Johann Sebastian Bach (1685-1750)
Prelude, from Suite no. 1 in G major, BWV 1007 (composed around 1720)
Trio sonata in G major, BWV 1039 (composed 1736-1741)
Adagio
Allegro ma non presto
Adagio e piano
Presto
Larghetto, from Concerto in D major, BWV 972 (composed 1713-1714)
Antonio Vivaldi (1678-1741)
Trio Sonata in D minor, op. 1, no. 12, “La Follia” (RV 63) (composed 1703)
Theme: Adagio – Variation I: Andante – Variation II: Allegro – Variation III —
Variation IV — Variation V – Variation VI — Variation VII – Variation VIII:
Adagio – Variation IX: Vivace – Variation X: Allegro – Variation XI: Larghetto –
Variation XII: Allegro – Variation XIII – Variation XIV: Adagio – Variation XV:
Allegro – Variation XVI — Variation XVII — Variation XVIII – Variation XIX
In June 2017, we won the Premier Prix and Prix du Public at the Concours International du Val de Loire, presided over by William Christie. Since then, we have performed in numerous venues in France and Europe (Auditorium de Radio France, Elbphilharmonie in Hamburg, Auditori de Barcelone, Festival de la Roque d’Anthéron… ). The Consort is in residence at the Fondation Royaumont, the Banque de France and the Fondation Singer-Polignac.
Our ensemble, formed in Paris in 2015, is dedicated to Baroque music, and more specifically to the trio sonata genre. Since our beginnings, this is a repertoire that we have intensively worked on, performed and recorded, and that we are committed to bringing to the public. Our repertoire includes works by composers such as Corelli, Vivaldi, Couperin, Purcell… but also unknown composers that we strive to rediscover and make known. Bringing these unpublished composers back into the limelight is one of the artistic signatures of our ensemble. Jean-François Dandrieu, Louis-Antoine Lefevre and Giovanni Battista Reali are three composers we have recorded for the first time (on the Opus 1, Venez chère ombre and Specchio Veneziano albums respectively). For our next projects, we already have a few ideas: Nicola Matteis Junior, Ravenscroft, Exaudet, Lamolinari, Gentili… so many composers to whom we will devote ourselves in the years to come.
The trio sonata was the king genre in the Baroque era, and we feel it deserves a group devoted entirely to it to do it justice. Very few ensembles perform this repertoire, despite the immense range of music written for this formation. Indeed, the trio sonata can be compared to the string quartet of the classical and romantic eras: from 1600 to 1800, it was the most popular chamber music genre.
The growth of our solo careers has led Le Consort to develop and flourish in larger forms, for violin concerto and opera projects. Drawing on our extensive chamber-music experience, this change of line-up is very fluid: our chamber-music reflexes irradiate the rest of the orchestra, and the cohesion we’ve always had as a four-piece wins over the entire ensemble.
Théotime Langlois de Swarte, violin
Sophie de Bardonnèche, violin
Hanna Salzenstein, cello
Justin Taylor, harpsichord