From the beginning of his training, the 18th century cellist was trained in composition and improvisation. He composed his own pieces and, when he interpreted those of others, he transformed them, enriching the bass lines as well as those above, at the risk of passing for an amateur if he stuck to a too literal execution.

How, today, to train a baroque cellist capable of mastering the basso continuo, improvisation and ornamentation? How to help him free himself from this score designed in the 18th century as a simple harmonic guide? 
It is around these questions that the work of the baroque cello class at the Conservatoire royal de Bruxelles revolves. For almost six years, four cellists—Valentin Bajou, Pierre Beaubatie, Marc Vanscheeuwijck and Hervé Douchy — have been developing an original method, inspired by the pedagogical practices of 18th-century Neapolitan conservatories.

The results of their research will be presented during this second symposium organized by the Conservatoire. They will be joined by several international researchers: Hilary Metzger (France), Giovanni Barbati (Italy) and Victor Garcia Garcia (Spain), who will share their own work.

The day will conclude with a concert by the ensemble Ayres Extemporae, a living witness of freedom found in baroque music.

Hervé Douchy, coordination

Conservatoire royal de Bruxelles
Auditorium Joseph Jongen 
17 rue du Chêne - 1000 Bruxelles

Free entrance, without reservation