L'âme-son Bruno Helstroffer

• Henry Grenerin (1625 - 1700): Suite in A Minor:
• 1Grenerin: Suite in A Minor: I. Prélude en milaré tierce mineure01:37
• 2Grenerin: Suite in A Minor: II. Allemande02:28
• 3Grenerin: Suite in A Minor: III. Courante02:04
• 4Grenerin: Suite in A Minor: IV. Sarabande02:33
• 5Grenerin: Suite in A Minor: V. Gigue01:18
• 6Grenerin: Suite in A Minor: VI. Menuet00:53
• 7Grenerin: Suite in A Minor: VII. Bourrée01:01
• Suite in D Major:
• 8Grenerin: Suite in D Major: I. Prélude en d.la ré sol par b.carre tierce maieure01:39
• 9Grenerin: Suite in D Major: II. Allemande en de la re sol01:53
• 10Grenerin: Suite in D Major: III. Courante01:22
• 11Grenerin: Suite in D Major: IV. Passacaille02:42
• 12Grenerin: Suite in D Major: V. Sarabande03:03
• 13Grenerin: Suite in D Major: VI. Gigue01:02
• 14Grenerin: Suite in D Major: VII. Menuet01:17
• Antoine Boësset (1587 - 1643): Airs de cour, Livre 9:
• 15Boësset: Airs de cour, Livre 9: Je meurs sans mourir04:03
• Henry Grenerin: Suite in G Minor:
• 16Grenerin: Suite in G Minor: I. Allemande en g.ré.sol ut tierce mineure02:58
• 17Grenerin: Suite in G Minor: II. Courante01:31
• 18Grenerin: Suite in G Minor: III. Sarabande02:30
• 19Grenerin: Suite in G Minor: IV. Gigue à la manière angloise01:07
• 20Grenerin: Suite in G Minor: V. Menuet00:51
• 21Grenerin: Suite in G Minor: VI. Passacaille02:11
• Jean de Cambefort (1605 - 1661): Ballet Royalle de la Nuict, Pt. 3:
• 22Cambefort: Ballet Royalle de la Nuict, Pt. 3: Récit de la Lune03:06
• Henry Grenerin: Suite in D Minor:
• 23Grenerin: Suite in D Minor: I. Prélude en de la ré sol tierce mineure01:23
• 24Grenerin: Suite in D Minor: II. Allemande02:33
• 25Grenerin: Suite in D Minor: III. Sarabande02:07
• 26Grenerin: Suite in D Minor: IV. Courante01:40
• 27Grenerin: Suite in D Minor: V. Sarabande02:06
• 28Grenerin: Suite in D Minor: VI. Gigue aymable01:47
• Passacaille en c sol ut fa:
• 29Grenerin: Passacaille en c sol ut fa04:52
• Total Runtime59:37

Info for L'âme-son

It was in the second half of the sixteenth century that the guitar became fashionable in France: it was the instrument of the people, whereas the lute was associated with the intellectuals and the nobility. Henry Grenerin became a page (choirboy) in the Musique du Roi in 1641 and went on to invent a new way of playing the instrument and offer it music full of 'freedom, mystery and ardour', says Bruno Helstroffer. In the very first recording devoted to Grenerin's music, Bruno revives this unjustly forgotten composer and makes the most of his long experience as both Baroque musician and exponent of today's music. He became fascinated by this seventeenth-century composer, and his investigations led him to the Left Bank of the Seine, opposite the Louvre Palace, where Henry's grandfather was a fisherman, hence the punning title L'ame-son [French hamecon = 'fish-hook', ame-son = 'soul of sound']. A saga that has also generated a book and a stage show about Grenerin - the first in the line of 'guitar heroes' that was to lead to Django Reinhardt and Jimi Hendrix!

Bruno Helstroffer, baroque guitar
Chantal Santon Jeffery, dessus (tracks 15, 22)

Bruno Helstroffer
studied classical guitar at the conservatory in Strasbourg and plays electric guitar and new music. He taught himself to play the theorbo. As a valued continuo player, he has made about 20 recordings and performed with the most important early music ensembles (Le Concert Spirituel, Le Poème Harmonique, Les Musiciens de Saint-Julien, Amarillis, Ensemble Barcarole, Faenza ...).

For the last ten years, Bruno Helstroffer has been creating live performances with puppet theatre, rock music and contemporary music and dance. His solo piece for theorbo "La Chambre", which combines contemporary improvisation, repertoire pieces and songs, has been highly appreciated in France and abroad. His next project "Love, I Obey", a combination of 16th century English ballads and American folk songs with the famous folk singer Rosemary Standley, was released as a CD in 2015.

The combination of different musical languages has become Bruno's identity, enabling him to play with jazz musicians such as Michel Godard, David Chevallier, Joël Grare or Steve Swallow as well as with pop artists such as Rosemary Standley, Moriarty or Sapho.

Booklet for L'âme-son