The Woods so Wild Consort Brouillamini

• Anthony Holborne (1545 - 1602):
• 1 The Image of Melancholly 05:19
• 2 The Fairie-Round 01:06
• 3 Muy Linda 01:02
• 4 Hermoza 01:13
• Anonyme:
• 5 Watkins Ale (Arr. for Recoder) 00:38
• William Byrd (1543 - 1623):
• 6 Rowland (Arr. for Recoder) 03:37
• 7 La Volta (Arr. for Recoder) 01:44
• Anonyme:
• 8 Pakington's Pownde (Arr. for Recoder) 02:20
• Giles Farnaby (1563 - 1640):
• 9 Pawles Wharfe (Arr. for Recoder) 01:29
• William Byrd:
• 10 The Woods so Wild (Arr. for Recoder) 03:27
• Christopher Tye (1505 - 1572):
• 11 In Nomine XII: Crye 01:39
• 12 In Nomine XV: Surrexit non est hic 02:57
• Hugh Aston (1485 - 1558).
• 13 Hugh Ashton's Maske 02:54
• Robert Johnson (1911 - 1938):
• 14 The Second of the Temple 01:28
• 15 The First of the Prince's 01:24
• John Coprario (1570 - 1626):
• 16 Cupararee or Grays'Inn (Arr. for Recoder) 02:14
• John Adson (1587 - 1640):
• 17 The First of the Temple antic 02:05
• 18 The Second of the Temple antic 01:53
• William Mundy (1529 - 1591):
• 19 O Mater Mundi 03:44
• Matthew Locke (1621 - 1677): Consort of Four Parts, Suite No. 3 en Fa Majeur:
• 20 Consort of Four Parts, Suite No. 3 en Fa Majeur: I. Fantazie 03:38
• 21 Consort of Four Parts, Suite No. 3 en Fa Majeur: II. Courante 01:08
• 22 Consort of Four Parts, Suite No. 3 en Fa Majeur: III. Ayre 01:10
• 23 Consort of Four Parts, Suite No. 3 en Fa Majeur: IV. Saraband 00:54
• Henry Purcell (1659 - 1695):
• 24 Pavan en sol mineur (Arr. for Recoder) 04:53
• 25 Chacony en sol mineur (Arr. for Recoder) 04:23
• Total Runtime 58:19

Info zu The Woods so Wild

The first feeling given by the English music of the 16th and 17th is a great uniqueness apparently preserved from any foreign influence, but yet English musicians were not totaly isolated from their continental fellow workers: For evidence, foreign musical forms like the Pavan, the Gaillard or the Madrigal all born in Italy were in use in England, foreign instrumentalists played in the court of England, handwritten or printed music from the continent was largely spread over England. However, England always took the foreign idioms very cautiously. The main imitative process of music writing began only to be used at the very last end of the 16th century; the first innovations of the baroque style were adopted very gradually from the end of the 17th. The English Renaissance, spread largely over the 17th century, has preserved a unique style of continental innovations, very rich and remarkable in the instrumental music which is without doubt one of the most accomplished of the period.

Consort Brouillamini

Consort Brouillamini


Elise Ferrière
Born in 1981, Élise Ferrière practices recorder since she is seven. Since she studied with Hugo Reyne at Bordeaux, then with Claire Michon at Poitiers, she is admitted at the CNSMD of Lyon, in the Pierre Hamon class, where she obtained her master degree with distinctions in 2007.

She contributed to the academy of Ambronay 2006 in the opera Amante de Fracesco Cavalli, under the direction of Gabriel Garrido. She also performs frequently with several formations : Séléné (recorder, baroque violin, harp and theorb), first prize at the chamber music contest of Madrid in 2008 with harp (recorder and harp duo), Consort Brouillamini, and in the Tangram duo (recorder and accordion).

In order to transmit her passion, she teaches recorder since she has got her state diploma (DE) at the CRR of Lyon and at the CRC of Meyzieu.

Virginie Botty
Born in 1985, Virginie Botty practices the piano, and quickly fall in love with the recorder she studies at the Douai CNR, under the teaching of Pascale Imbert. There, she obtained her recorder gold medal with the jury's unanimity, and her gold medal in musical formation and chamber music. She gaines access in 2005 at the Conservatoire National Supérieur de Musique et de Danse in Lyon, under the teaching of the recorder teacher Pierre Hamon. ​

Virginie Botty obtains in 2010 her recorder master degree with distinction, such as her master in chamber music with Consort Brouillamini. She frequently does live performance, especially with the Barbaresque formation (recorder, gothical harp and bow vièle), the Consort Brouillamini and in other different orchestral projects (OFJ with Cristophe Rousset). She also owns a master degree in teaching (CA) and dedicates herself to teaching at the CRR of Chalon-sur-Saône. Aránzazu Nieto ​

Aránzazu Nieto
was born in Madrid in 1987. She has studied recorder with Fernando Paz at “San Lorenzo de El Escorial de Madrid”. In 2006 she continued with the undergraduate studies in the Conservatoire National Supérieur de Musique et Danse of Lyon in the classe of Pierre Hamon. She obtained a Performance Recorder Master Degree with the highest qualifications in june 2011. She took part in different courses and masterclasses with musicians including Paul Leenhouts, Richard Egarr, Michael Schneider… Aránzazu participates regularly in orchestral projets, including the Récits ensemble and Alkymia ensemble, which combines Medieval, Renaissance and Baroque music with Contemporary music. She also owns a master degree in teaching and she combines her musical activity with teaching music in different schools in the Lyon area and in the Privas Conservatory. Florian Gazagne ​

Florian Gazagne
started studying the recorder at the age of six, into the music school of Castelginest. He integrated the Toulouse's CNR at thirteen in Pierre Tillous class, and obtained his gold medal four years later, followed by two years of perfection cursus under the teaching of Marc Armengaud. He met Frédéric de Roos, Julien Martin, Michael Form, Rachel Brown, Walter Van Hauwe during internship and masterclass.

He integrated Pierre Hamon's class at the CNSMD of Lyon in 2008. While getting fond of medieval music and early music, Florian is also interested in contemporary music, and creation. He played in march 2011 with the Orchestre National de France N'zah, a piece written for recorder, electric guitar and full orchestra by Benjamin Attahir, recorded and brodcasted on France Musique. After the obtention of his german bassoon prize and his counterpoint prize at the CRR of Lyon, he began to learn german bassoon from Carlo Colombo at the CNSMD of Lyon.

He obtained his recorder master degree in May 2013 with distinctions and his german bassoon degree in 2018. As a recorder and baroque bassoon player, he had the opportunity to perform with renowned orchestras and musical ensembles such as Le Caravansérail, Il delirio fantastico, Ensemble Correspondances, Les Nouveaux Caractères, Hesperion XXI, Orchestre de l'Opéra de Lyon... Guillaume Beaulieu

Guillaume Beaulieu
started learning recoder at the age of ten, in the music school of Massy, teached by Maud Caille. After the obtention of his recorder prize in Jean-Pierre Nicolas's class at the CRC of “la Valée de Chevreuse” in 2009, and of his complete DEM in 2010 with the chamber music prize, he integrated Pierre Hamon's class at the CNSMD of Lyon in 2011. His taste of ancient music helped him to experience other instruments, especially polyphonial ones ; he learned harpsichord at the CRD of Orsay, as well as theorb at CNR of Versailles.

This versality gave him the opportunity to play both recorder and theorb with several formations, and he often take part in live performance with the masterie of the “Centre de Musique baroque de Versailles”, under the direction of Olivier Schneebeli, or Partock Cohen-Akenine at the Versailles castle. He was selectionned to take part in 2010's and 2012's session of “l'Orchestre Français des Jeunes Baroques”, in which he played under the direction of Paul Agnew at the “Opéra Comique” in Paris, and at the “Grand théâtre” at Aix en Provence.

As a soloist, he won the 2nd price of the Moeck International / SRP solo recorder competition in 2017, 3rd price at the Nordhorn Competition in 2019 and the 1st price at the Competition of the 3rd international recorder festival of Tel Aviv. He currently teaches the recorder at the Conservatory of Chevilly-Larue and Orsay.

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