Marais Pièces de violes
View record and artist detailsRecord and Artist Details
Composer or Director: Marin Marais
Label: Adès
Magazine Review Date: 2/1994
Media Format: CD or Download
Media Runtime: 60
Mastering:
DDD
Catalogue Number: 20235-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Pièces de viole, Livre 1 Part 1, Movement: Prélude |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 1 Part 1, Movement: Allemande |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 1 Part 1, Movement: Courante |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 1 Part 1, Movement: Sarabande |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 1 Part 1, Movement: Gigue |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 1 Part 1, Movement: Gavotte |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 1 Part 1, Movement: Menuet. (Suite in G): |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 2 Part 2, Movement: Tombeau pour M de Lully |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Prelude |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Allemande |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Courante |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Double de L'Allemande |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Sarabande |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Gigue |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 3 Part 2, Movement: Plainte |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 4 Parts 2 and 3, Movement: Caprice ou Sonate |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 5 Part 2, Movement: Prelude Le soligni |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 5 Part 2, Movement: Petit caprice |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 5 Part 2, Movement: Allemande Le facile |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 5 Part 2, Movement: Sarabande |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 5 Part 2, Movement: La mariée |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
| Pièces de viole, Livre 5 Part 2, Movement: Gigue La mutine |
Marin Marais, Composer
Eugène Ferré, Guitar Marianne Muller, Viola da gamba Marin Marais, Composer Pascal Monteilhet, Theorbo Sylvia Abramowicz, Bass viol |
Composer or Director: Marin Marais
Genre:
Chamber
Label: Centaur
Magazine Review Date: 2/1994
Media Format: CD or Download
Media Runtime: 55
Mastering:
DDD
Catalogue Number: CRC2129
Tracks:
| Composition | Artist Credit |
|---|---|
| La gamme et autres morceaux de simphonies, Movement: La gamme en forme d'un petit opéra |
Marin Marais, Composer
Boston Museum Trio Marin Marais, Composer |
| La gamme et autres morceaux de simphonies, Movement: Sonate à la marésienne |
Marin Marais, Composer
Boston Museum Trio Marin Marais, Composer |
| La gamme et autres morceaux de simphonies, Movement: Sonerie de Saint-Geneviève du Mont |
Marin Marais, Composer
Boston Museum Trio Marin Marais, Composer |
Composer or Director: Du Buisson III, 'Sieur' de Machy, Sainte-Colombe le fils, Sainte-Colombe
Label: Ricercar
Magazine Review Date: 2/1994
Media Format: CD or Download
Media Runtime: 52
Mastering:
DDD
Catalogue Number: RIC118100
Tracks:
| Composition | Artist Credit |
|---|---|
| Troisième Suite |
Du Buisson III, Composer
Du Buisson III, Composer Philippe Pierlot, Viola da gamba |
| Pièces de viole, Movement: G |
'Sieur' de Machy, Composer
Philippe Pierlot, Viola da gamba 'Sieur' de Machy, Composer |
| Pièces de viole, Movement: D minor |
'Sieur' de Machy, Composer
Philippe Pierlot, Viola da gamba 'Sieur' de Machy, Composer |
| Tombeau pour M. de Sainte-Colombe le père |
Sainte-Colombe le fils, Composer
Sainte-Colombe le fils, Composer Philippe Pierlot, Viola da gamba |
| Fantaisie en Rondeau |
Sainte-Colombe le fils, Composer
Sainte-Colombe le fils, Composer Philippe Pierlot, Viola da gamba |
| (67) Concerts à deux violes esgales, Movement: Tombeau les regrets |
Sainte-Colombe, Composer
Sainte-Colombe, Composer Philippe Pierlot, Viola da gamba Rainer Zipperling, Viola da gamba |
Composer or Director: Marin Marais, Sainte-Colombe
Label: Naxos
Magazine Review Date: 2/1994
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 8 550750
Tracks:
| Composition | Artist Credit |
|---|---|
| La gamme et autres morceaux de simphonies, Movement: Sonerie de Saint-Geneviève du Mont |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 3 Part 2, Movement: Prelude |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 3 Part 2, Movement: Double |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 3 Part 2, Movement: Allemande |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 3 Part 2, Movement: Gigue |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 4 Parts 2 and 3, Movement: Le labyrinthe |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 4 Parts 2 and 3, Movement: L'arabesque |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 4 Parts 2 and 3, Movement: La reveuse |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| Pièces de viole, Livre 4 Parts 2 and 3, Movement: Le badinage. (Suite in D): |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
| (67) Concerts à deux violes esgales, Movement: Le retour |
Sainte-Colombe, Composer
Sainte-Colombe, Composer Spectre De La Rose |
| (67) Concerts à deux violes esgales, Movement: Tombeau les regrets |
Sainte-Colombe, Composer
Sainte-Colombe, Composer Spectre De La Rose |
| Pièces de viole, Livre 1 Part 1, Movement: Prélude |
Marin Marais, Composer
Marin Marais, Composer Spectre De La Rose |
Author:
A new generation of viol players are recording the music of Sainte-Colombe and Marin Marais, inspired by the success of the film Tous les matins du monde. In Sainte-Colombe's and Marais's day it was rare to find a French player not touched by their styles of playing; today most young players will have been influenced by the teaching and recordings of Wieland Kuijken and Jordi Savall. Savall's poised and compelling performances on the film soundtrack (reproduced and augmented on the Auvidis CD) have for many become the standard interpretations of such works as Saint-Colombe's Le retour (in which he is eloquently joined by Christophe Coin) and Marais's Le badinage and La reveuse. Many will find it remarkable that, in the face of these powerful icons, uncanny nationalistic elements nevertheless emerge in these latest recordings.
Making its recording debut, the English ensemble Spectre de la Rose (on Naxos) bring a strong, clear yet sweet sound to this music. The miking is close (the clicking of the harpsichord action and the thud of strings hitting fingerboards are occasionally distracting), conveying at once a sense of intimacy and timbral brilliance. Tempos here are slower than those of continental performers (slower than those of the highly polished Boston Museum Trio as well) but enable Marie Knight, Alison Crum and Timothy Roberts to infuse their performance of Marais'sSonnerie de Saint-Genevieve du Mont (so appallingly done in the lesson at the beginning of the film, though well enough played on the CD) with a deeper level of coherence than it is usually accorded.
Alison Crum (one presumes, as the Naxos programme does not say otherwise) plays the solos beautifully in the English style: lean and understated. I would like to have heard her make more of the harmonic tensions and dramatic possibilities for silence, especially in Marais'sTombeau pour M. de Sainte-Colombe. She might also take more pleasure in the subtlety of the ornamentation. I rather missed a touch of humour in Le badinage (with its ubiquitous rondeau theme) and even more, a touch of rhetoric at the climax of Le labyrinthe; while taking their cue from Savall in the effective use of theorbo (and a second viol) for the accompaniment and in other matters, these performances lack his panache.
The Boston Museum Trio celebrates its twentieth anniversary this year with the issue of a recording of Marais's 1723 collection of three large-scale trios for violin, bass viol and continuo, which includes La Sonnerie, the best known of the three. Daniel Stepner, Laura Jeppesen (a pupil of Kuijken) and John Gibbons are excellent technicians and widely admired, especially in the United States. Stepner produces a bright, energetic sound, particularly in the Sonate a la mariesienne. Jeppesen imitates his bow strokes and sound to perfection, while elsewhere, especially in La gamme and La Sonnerie, projecting her own musical individuality.
Nationality is not always the determining factor. The routine performances by Marianne Muller and her Paris-based colleagues of a selection from Marais's five books of pieces de violes on Ades suffer for being shackled to the pulse. Muller (another Kuijken pupil) robustly attacks the chords and otherwise favours a sustained, treacly bow stroke, producing a gruff, heavy-handed effect in the lower range and a penetrating sound in the upper (betraying, perhaps, her musical origins as a recorder player). The fact that the lute and guitar accompaniment often sounds as if under water may mean the circumstances of the recording were in some way to blame for the overall impression.
Nevertheless, among the most pleasurable of the recordings surveyed here are the performances by the Frenchman, Philippe Pierlot, of viol music from the era of Sainte-Colombe. Already known for his disc of sonatas by C. P. E. Bach, Graun and Schaffrath ((CD) RIC047025), Pierlot in this recording proves himself an important interpreter of the French style. His sound, as reproduced here, does take a bit of getting used to, because it is smaller and grainier than that of a Savall or even a Crum. However, it is ultimately very satisfying, for these are intimate performances, with all the delicacy and contemplativeness one imagines might have embodied Marais's performances before Louis XIV. By seeming to play softly Pierlot compels you to listen to his sublime musical discourse in Marais'sTombeau pour M. de Sainte-Colombe. So at ease with time is he that your heartbeat slows. While including such popular works as the Tombeau and Sainte-Colombe's Les regrets (which fades away at the end of the CD rather like a pop music track), he also introduces CD listeners to the solo viol music of Du Buisson III and Sainte-Colombe le fils, whose existence was ignored in the film, and whose own extended and tortuous Tombeau pour M. de Sainte-Colombe le pere, with its strikingly reminiscent dialogue section two-thirds of the way through and its virtuoso figuration, deserves to be better known.'
Making its recording debut, the English ensemble Spectre de la Rose (on Naxos) bring a strong, clear yet sweet sound to this music. The miking is close (the clicking of the harpsichord action and the thud of strings hitting fingerboards are occasionally distracting), conveying at once a sense of intimacy and timbral brilliance. Tempos here are slower than those of continental performers (slower than those of the highly polished Boston Museum Trio as well) but enable Marie Knight, Alison Crum and Timothy Roberts to infuse their performance of Marais's
Alison Crum (one presumes, as the Naxos programme does not say otherwise) plays the solos beautifully in the English style: lean and understated. I would like to have heard her make more of the harmonic tensions and dramatic possibilities for silence, especially in Marais's
The Boston Museum Trio celebrates its twentieth anniversary this year with the issue of a recording of Marais's 1723 collection of three large-scale trios for violin, bass viol and continuo, which includes La Sonnerie, the best known of the three. Daniel Stepner, Laura Jeppesen (a pupil of Kuijken) and John Gibbons are excellent technicians and widely admired, especially in the United States. Stepner produces a bright, energetic sound, particularly in the Sonate a la mariesienne. Jeppesen imitates his bow strokes and sound to perfection, while elsewhere, especially in La gamme and La Sonnerie, projecting her own musical individuality.
Nationality is not always the determining factor. The routine performances by Marianne Muller and her Paris-based colleagues of a selection from Marais's five books of pieces de violes on Ades suffer for being shackled to the pulse. Muller (another Kuijken pupil) robustly attacks the chords and otherwise favours a sustained, treacly bow stroke, producing a gruff, heavy-handed effect in the lower range and a penetrating sound in the upper (betraying, perhaps, her musical origins as a recorder player). The fact that the lute and guitar accompaniment often sounds as if under water may mean the circumstances of the recording were in some way to blame for the overall impression.
Nevertheless, among the most pleasurable of the recordings surveyed here are the performances by the Frenchman, Philippe Pierlot, of viol music from the era of Sainte-Colombe. Already known for his disc of sonatas by C. P. E. Bach, Graun and Schaffrath ((CD) RIC047025), Pierlot in this recording proves himself an important interpreter of the French style. His sound, as reproduced here, does take a bit of getting used to, because it is smaller and grainier than that of a Savall or even a Crum. However, it is ultimately very satisfying, for these are intimate performances, with all the delicacy and contemplativeness one imagines might have embodied Marais's performances before Louis XIV. By seeming to play softly Pierlot compels you to listen to his sublime musical discourse in Marais's
Marais Pièces de violes
Marais Chamber Works
Le Tombeau de M. de Sainte-Colombe
Marais/Sainte-Colombe Greatest Masterworks
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