The bass viol pieces of Marin Marais seem to be enjoying a new vogue, judging from the flow of recent releases. Elegant French miniatures, with limited appeal, some may say. But they prove to be remarkably varied and affecting in character; melodically, harmonically and rhythmically interesting; and, for the player, ingeniously conceived. Although Marais was remarkably clear about the manner of their performance, individual pieces repay careful study and lend themselves to a wide range of personal interpretation. But they also ruthlessly expose the strengths and weaknesses of the viol player in much the same way that the Bach solo suites challenge the musicianship of cellists.
A former pupil of Christophe Coin and Paolo Pandolfo, Juan Manuel Quintana has taken up the challenge, sooner rather than later, to offer his own versions of some of Marais's best-known pieces. He is technically very accomplished and at his best in pieces such as the rondeaux and gigues of the E minor and D major Suites, and especially in the witty 'La Mariee' and the 'Rondeau moitie pince et moitie coup d'archet' of the A minor Suite (effectively accompanied here by Dolores Costoyas, who contributes enchantingly to the resonance of the plucked phrases).
He has less to say in the slower, more reflective movements, his interpretations being faithful but cool. This is partly due to his relatively seamless phrasing, which eliminates many of the small gestures in the music, and his apparent lack of feeling for the harmonic tensions Marais built into his pieces and accentuated with carefully graded ornamentation and bowing effects - this is particularly so in the 'Plainte' of the D major Suite (where I missed the impact of the enfle bow strokes and the compounding of ornamentation and bowing) and the pathos of the 'Tombeau pour Monsieur de Sainte-Colombe'. Attilio Cremonesi's often florid realisations sadly proved more distracting than supportive. I look forward to hearing Quintana in other repertory.'