It's very nice to return to the world of French Baroque music.
It's great to be involved in this orchestra, as it were, for the first time,
because no one has heard these instruments before.
We had a few of them, half of them, two years ago in London, Royal College of Music,
and now the whole band is here, and it's an amazing sound, so it's a great privilege to be involved in this.
My name is Myriam Boulose, and I'm from Alto. I started with the modern Alto,
and now I'm in the class of Patrick Cohen in Alto Baroque.
My name is Juliana Velasco, I'm from Oregon, Colombian.
I started my studies at the age of six, in Colombia, then I studied in Barcelona,
and finally I studied French for my specialization in Baroque music,
in French music in general, and it's through conservatory that I came to the project of the twenty-four violins.
I was a little girl, I'm twenty-four years old, but I'm a basic violinist,
so I started with the modern violin, in Orleans, where I got my modern violin price.
Then I turned to the Baroque violinist, and I was already interested in my modern violin studies.
My name is Patrick Oliva, I'm 28 years old, I'm a violinist at the base,
I studied at the Geneva Conservatory in modern violin, and then in Baroque violin,
and then in Paris, in Baroque violin, where I just finished my master's studies.
The project is fantastic, in the sense that we don't have the opportunity to approach these instruments.
I play the fifth, it's true that it's an instrument that I didn't know,
and it's very interesting to be able to learn the French orchestra of the 17th and the beginning of the 18th with instruments made for it.
The basic violin, the instrument that I play in this orchestra, is quite different from the cello,
so you have to find these different brands of instruments that you are used to working on throughout the year in the different sets of orchestras.
We are brought here to look for a sound, to find the technique that makes it possible to find an homogenous sound,
because it's not at all an obvious instrument to play.
I try to find this outfit that makes the sound come out, as it should be.
Maybe the precision of the arches, because we have very different arches, very short,
so it's played with nuances, with how a brush is found, but this is the path that musicians always find, find the color.
And this arches part also allows us to find an articulation, an expression of the special music, so yes, it's rather a gesture.
It's really us too, to be open, to be sensitive to the music that surrounds us.
And suddenly, there is a kind of emergence, a convergence towards a common sound.
That must be very difficult, I think, for them to play, but they all do it fine. They adapt to it. Very, very good.
I mean, it's fantastic. There they are. It's a new generation of people who understand early music. Marvelous.
Marvelous.
Marvelous.
Marvelous.
Marvelous.
Marvelous.
Marvelous.
Marvelous.
Marvelous.
