Lambert Colson cornetto, flutes
Lambert Colson began his musical training as a recorder player with Françoise Defours, continuing his studies with Pedro Memelsdorff, Bart Coen, Marleen Leicher, Bruce Dickey, and Gebhard David. He graduated from renowned institutions, including the Conservatoire royal de Bruxelles, the Escola Superior de Música de Catalunya in Barcelona, the Schola Cantorum Basiliensis and the Hochschule für Künste in Bremen.
As a recorder and cornetto player, he has been invited to perform with conductors and ensembles such as Scherzi Musicali (Nicolas Achten), Le Poème Harmonique (Vincent Dumestre), Holland Baroque, Ensemble La Fenice (Jean Tubéry), Pygmalion (Raphaël Pichon), B’Rock Orchestra, Collegium Vocale Gent (Phillipe Herreweghe), Ensemble Correspondances (Sébastien Daucé), Cappella Mediterranea (Leonardo García-Alarcón), and Continuum, among others.
He also leads artistic projects with his own ensemble, InAlto. In recent years, the recordings of InAlto have received widespread critical acclaim across Europe, earning distinctions including the Diapason d’or & Diapason d’or de l’année 2017, the Choc-Classica (Classica), the Joker absolu (Crescendo), 5 stars from Rondo Magazin, and choice of the year in both Libération and Le Monde. Lambert Colson is also active as a researcher and has been commissioned to write for the literary magazine La pensée de midi (issued by the French Actes Sud publishing house).
As a teacher, he has been invited to give lectures and masterclasses in La Fondation Royaumont on topics such as the history of Western music notation or Luther and the music in the Holy Roman Empire. Besides participating in various masterclasses, he currently teaches cornetto and historical performance practice at the Conservatoire royal de Bruxelles and at the Haute école de musique de Genève.
In addition to his teaching activities, and driven by a continuing interest in performance practice, Lambert Colson has been a research fellow at the Conservatoire royal de Bruxelles since September 2017. His research focuses on historical instruments making, paying particular attention to identifying specific instrument models associated with specific repertoires in European museum collections.
A keen interest in unconventional collaborations led him to explore the use of hypnosis in the creative process in collaboration with choreographer Catherine Contour. Driven by his desire to expand his musical perspectives on the cornetto, he has also worked with contemporary composers such as Zad Moultaka, Fabrice Fitch, and Bernard Foccroulle on new compositions and has collaborated with pop, rock and jazz artists including Shara Nova (formerly known as Shara Worden), the Icelandic musician Mugison and the Danish band Efterklang in association with the Box collective. More recently, he has been involved in a range of improvised music projects in collaboration with artists such as An Pierlé, Liesa Van der Aa, Emmanuel Baily, Xavier Rogé, Adam Woolf, Frank Vaganée, and Jon Birdsong.
