Nice radio broadcast on rbb Kultur by Bernhard Schrammek, featuring the salterio, playing a lot of music of IL DOLCE CONFORTO!
“Frauen am Hackbrett des Barocks” was published in September, #17 of DIE REFERENTIN. The article introduces to the instrument in general and discusses briefly the high standards of musicking Italian nuns in the 18th century. Find the direct link below!
Our live-performance at Vpro’s show Vrije Geluiden is online now! Thanks to Oude Muziek Festival Utrecht for this fabulous opportunity!
Dolce Conforto was invited to represent this year’s Oude Muziek Festival in a live-show on Holland TV. Link below!
Many thanks to Ulrich Meinhard for the nice article on my life with the salterio!
After years of researching, the first results arrived in print! I wrote an short article on a salterio built by Antonio Battaglia and general notes on his famous salterio workshop in Milan. All that was published in a beautiful exhibition catalogue titled “Preziosi strumenti”. It is in Italian and English – check out for more on my website under “Research”!
Many thanks for the article about my work in the Oberösterreichische Nachrichten on February 27th 2019
Nice photo-souvenirs of our concert in Baarn (NL) in February 2019, in the series “Prelude Klassieke Muziek” by wonderful Kees Koustaal. Having a wonderful atmosphere and lots of standing ovations… Thanks!
D. James Ross, January 1st 2019
But for a cpo CD by Salzburger Hofmusik with 18th-century music chiefly by Telemann featuring Salterio, which I actually bought for the contribution from chalumeaux and Baroque clarinet, I would have been as unaware as I guess most people are of the 18th-century vogue for the instrument. This programme includes delightful instrumental music by Fulgenzio Perotti, Florido Ubaldi and Vito Ugolino featuring the instrument as well as two works for solo alto by Giovanni Battista Martini and Girolamo Rossi which feature salterio in the accompanying ensemble. In Martini’s fine Motetto, due to the prominence of the solo voice, the salterio is initially just part of the accompanying texture, although presently in a couple of items it steps out of the shadows to take a more prominently solistic role alongside the vocalist. In Rossi’s Lezione Quarta, by contrast, the salterio plays a much more fundamental role. The hand-plucked strings of the salterio have a delightful tinkling quality, which allows it to contrast with the harpsichord when the two are playing together, and imbues music it participates in with an elegant and charming timbre. Although I have little to compare it with, Franziska Fleischanderl’s playing is beautifully effective and effortlessly elegant, while Romina Basso’s solo singing and the playing of the ensemble Il Dolce Conforto are both models of musicality and expressiveness. This whole unsuspected repertoire definitely deserves more general attention, and the musicians here have done us a great service in bringing it to a wider.