Label: MUSICA FICTA 8001Very little is known about him. All that is known is that he was born around 1600, organist at the Saint-Gudule Church in Brussels from 1626 onwards. Nicolaus a Kempis was a witness, nothing more than a virtual anonymous witness at the crossroads of Flemish and Italian music. He does not tell us anything, except with his music, and we are not burdened by any biographical detail. The notes are enough, and the publications prove that they were highly appreciated. If this music still reaches out to us today it is precisely because of the impression one has when listening to it of being at the crossroads of two worlds, two aesthetic universes, which complement rather than contradict each other. These Symphoniae are, in fact, what the Italians would have referred to as Sonates. They were written for a violin and basso continuo, or for a trio (two violins and bass, or violin, viol and bass). Some were written for four or five instruments – the cornet, violin, trombone, tenor or bass viol, or both.
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SYMPHONIAE: Symphonia Prima a 3 Op. 3, XVIII; O Iesu Fili David a 5 Op. 3, XXVIII; Symphonia Secunda a 4 Op. 3, XXIII; Symphonia Sexta per violino solo Op. 1; Symphonia Prima a 4 Op. 3, XXII; Sicut misit me a 5 Op. 3, XXX; Symphonia Octava «Den lustelijcken Mey» Op. 3, XII; Symphonia Quarta per violino & viola Op. 1; Ad te suspiro a 5 Op. 2; Pavana Dolorosa a 6 Op. 4, XXVI; Sub tuum pr'sidium Op. 2; Symphonia Undecima per violino solo Op. 1; Symphonia Quarta supra Cuc cuc, vel Sol, mi Op. 2; Cantate Domino a 5 Op. 2; Symphonia Secunda per violino solo Op. 2; Symphonia Prima a 3 Op. 1; Maria Mater Gratie a 5 Op. 3, XXXI; Symphonia Septima a 3 supra Ciaconna Op. 1 - Celine Scheen, soprano; Stephan Van Dyck, tenor; Dirk Snellings, bass; Ensemble Clematis/Stephanie de Failly