Geneva

Cornett

“A ray of sunlight breaking through the clouds.” That was how Mersenne described the sound of the cornett. It is indeed the instrument’s sound and extraordinary flexibility that made it famous and continue to fascinate those who listen to it today. 

A range of more than two octaves and impressive dynamic capabilities have enables the cornett to shine in every field of music for almost 300 years.

Under the guidance of its professor Lambert Colson, a renowned soloist and chamber musician, the cornett class at the Haute école de musique de Genève (HEM) prepares its students for a multifaceted career in music, ranging from the interpretation of the soloist repertoire to that of polyphonic and orchestral works, but also to the teaching and passing on of knowledge.

The class makes a sizable inventory of instruments available to its students, enabling them to experiment with historical practices in terms of transpositions and the tenor cornet.

Moreover, the students are encouraged to take part in numerous activities arranged by the HEM’s department of music of the past, which regularly invites eminent performers and researchers from all over the world to give Masterclasses and seminars. In particular, the class pursues a research project based around the creation of a database about the repertoire and the instruments kept at the HEM. This project thereby enables the students to be in the know when it comes to discovering the repertoire, and to use modern tools to get the best out of the instrument.

Finally, the cornett class regularly collaborates with the HEM’s other departments, and with internationally acclaimed Swiss ensembles, on ‘side-by-side’ artistic projects, which constitute real gateways to the professional world. 

Teachers

Lambert Colson

Professor of Cornetto

Lambert Colson studied with Françoise Defours, Pedro Memelsdorff, Bart Coen, Marleen Leicher, Bruce Dickey, and Gebhard David at institutions including the Koninklijk Conservatorium Brussel, ESMUC in Barcelona, the Schola Cantorum Basiliensis, and the HFK in Bremen. His collaborations include working with ensembles and conductors such as Scherzi Musicali, Le Poème Harmonique (Vincent Dumestre), Holland Baroque, La Fenice (Jean Tubéry), Pygmalion (Raphaël Pichon), B’rock, Collegium Vocale (Philippe Herreweghe), Correspondances (Sébastien Daucé), Cappella Mediterranea (Leonardo Garcia Alarcon), and Continuum. He leads his own musical projects, directly derived from research undertaken in recent years with his ensemble InAlto. InAlto's most recent recordings have been critically acclaimed by the European press: Diapason d’Or & Diapason d’Or of the Year 2017, Choc de Classica, 5 stars Rondo Magazin, Joker Crescendo, Clé d’Or Res Musica, and selections of the year for Libération and Le Monde. He currently teaches cornetto, ensemble music, and ornamentation at the Koninklijk Conservatorium Brussel and the Haute école de musique de Genève. In his continuous exploration of his instrument, he is pursuing a doctoral program focused on the mute cornett and its use in 17th-century Germany, in a joint project between the Koninklijk Conservatorium and the Vrije Universiteit Brussel. The thesis will be publicly presented in 2024. He has had several pieces dedicated to him by contemporary composers such as Zad Moultaka, Fabrice Fitch, and Bernard Foccroulle. Eager for unusual collaborations, he works with choreographer Catherine Contour and explores the practice of hypnosis. He increasingly explores the possibilities offered by his instruments in contemporary music, collaborating with artists like Liesa van der Aa, Shara Nova (My Brightest Diamond), Petur Ben, Mugison, and Efterklang. He is also involved in several jazz and improvisation projects with artists such as Emmanuel Baily, Xavier Rogé, Franck Vagané, Adam Woolf, Jon Birdsong, and Eric Vloeimans. Learn more about Lambert Colson.

lambert colson

Departments and associated courses