La Muse et La Mise (en concert)
François Couperin - Jean-Baptiste Lully - Charles Dieupart - Michel Pignolet de Montéclair - François Bouvard

La Muse et La Mise (en concert)

RedHerring Baroque Ensemble

Label: Antarctica
Format: CD
Barcode: 0608917730326
Catalog number: AR 003
Releasedate: 06-05-16
- 2nd release on Antarctica Records, Mise en concert captures the live thrill of utterly refined music making in the salons of the French connoisseurs… 

- first time harpsichord music is played in this way - by adding multiple instruments/arrangements. This way, a whole new repertoire is revealed

- the revelation of Soetkin Elbers, young belgian soprano, who proves to be a very promising singer

The “what you see (in a score) is what you get”-principle sometimes makes us blind to the fact that improvisation and “on the spot” arrangement were much more important in earlier times than they are today. A fascinating case in point is the 18th century Mise en concert-practice, the impromptu “pimping” of solo keyboard music for multiple instruments during chamber concerts in Versailles or in the aristocratic salons.
In the preface to his Concerts Royaux of 1722, François Couperin introduces the genre as follows:
“The pieces which follow are of a different kind than the one I have performed up to now. They are not only suited to the harpsichord, but also to the violin, the hobo, the viol, and the bassoon. I had fashioned them for the intimate Concerts de chambre, to which Louis Quatorze bid me almost every Sunday of the year.”    
By scaling up from solo music to chamber ensemble, recorder prodigy Patrick Denecker and his ensemble RedHerring unpack the stories and the dances hidden in the harpsichord suites written by composers such as Couperin or the lesser known Charles Dieupart. But chamber concerts in the Parisian salons were not restricted to instrumental music. Molière has his Bourgeois gentilhomme decree that a decent home ensemble should convene some melodic instruments (violin, flute,…), an accompaniment section consisting of harpsichord, theorbo and viol, but also a number of singers. In keeping with this tradition, RedHerring engaged young soprano Soetkin Elbers – whom Opernwelt called “gracious”, in possession of a “translucent soprano voice”, and “perfect gestures” – to perform Airs de cour by Jean-Baptiste Lully and François Bouvard.    
What struck the performers while recording these pieces was the almost unlimited liberty inherent in the Mise en concert-formula: “we doubled parts”, says Denecker, “changed the instrumentation, added or omitted notes, turned base lines into thorough bass; we even went back to the “original” harpsichord score sometimes. The only guideline we unwaveringly respected was le bon gout”.
A pivotal feature of this Mise en concert-experience was the palpable chemistry sparked by the musical intimacy between very old friends; in RedHerring, Denecker convenes some of the pioneers of the Belgian baroque scene, including cembalo player Guy Penson, viol virtuoso Kaori Uemura, as well as violinist and concertmaster Ryo Terakado. The sonorous delight which emanated from their interaction was further amplified by the period ambiance of the ancient Antwerp Begijnhof church.
Antarctica has been fortunate to capture this extraordinary harmony on record. Just like the label “Mise en bouteille au château” pertains to the winemaker’s ability to catch not only the wine, but also the moment and the spirit of its bottling under the cork, Mise en concert captures the live thrill of utterly refined music making in the salons of the French connoisseurs…
RedHerring was founded in 2011 by Patrick Denecker as a logical consequence of the way paved by La Caccia, his Renaissance ensemble. 

Specifically dedicated to the baroque repertory, RedHerring aspires to bring well-known as well as undiscovered works of the 17th and 18th centuries to the concert platform. Knowledge of 16th century music provides musical insights into the repertory of the baroque period and forms a logical and chronological continuation of adventurous explorations. 

As always, their programmes are based on in-depth studies of historical performing practices. 

Patrick Denecker is convinced that exciting concerts can be realized by immersing oneself in the spirit of the times in which the composer lived. The re-creating of music needs a strong base… this is silence. The listener is witness to this ‘new’ music, which is played as if just created, and thus brought with imagination and inventiveness. 

RedHerring performs as a chamber music ensemble and as an orchestra.  In its short existence, RedHerring has already played in major festivals, including the MA Festival Bruges, The Utrecht Early Music Festival, Festival of Flanders, and others. 

RedHerring runs its own concert series in Belgium and is regularly invited to create thematic programmes.