The Scholars Baroque Ensemble, performer, early music and baroque music, discography
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Cristobal de Morales
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The Scholars Baroque Ensemble
10 CDs for a desert island : Jonathan Dunford
Nuria Rial
Ton Koopman
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The school of Notre-Dame
The songs of The King Thibaut of Navarre
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Scholars Baroque Ensemble, The
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THE SCHOLARS BAROQUE ENSEMBLE
The Scholars Baroque Ensemble
By Eduardo Notrica. Translated by Yolanda Acker
The dual name behind The Scholars/The Scholars Baroque Ensemble can be explained from two perspectives . On the one hand, the smaller formation -a vocal quartet- is the architect of another larger group -the instrumental ensemble-, while on the other, the solidity and career path of the smaller group allows the larger ensemble to tackle projects on a larger-scale. The apparent structural instability between the ensembles is not a problem since the sound and aesthetic concept of both groups are essentially the same: one member per part and a democratic working spirit of equality.

The name derives from the fact that the original members of the group all won scholarships to Cambridge University to sing in the choir of King’s College Chapel. Many traditional reference points therefore guided its members. Like The King’s Singers -created at the same institution only one year before- The Scholars originally began as an all male vocal sextet in 1968, but as early as 1972 the group decided to adopt a different profile, including a female voice and reducing its members to four. Once the musical environment became favourable and there was a need for artistic development, David van Asch, the bass-baritone of the group, decided to create his own ensemble as an instrumental counterpart, The Scholars Baroque Ensemble.

The Scholars Baroque Ensemble was founded in 1987 to complement the very successful a cappella work of the quartet, thus expanding its artistic profile. However, the Ensemble’s characteristics are the same as those of the quartet: solo performances with only one instrumentalist or singer per part, the use of original instruments and above all, the absence of a conductor. The ensemble’s flexibility allows it to complement the singers by performing the continuo in works such as the Bach motets and works by Purcell, as well as tackle more instrumentally complex works such as the 1610 Vespers by Monteverdi or Handel’s Messiah.

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