专辑简介

Marin Marais studied viola da gamba with Sainte-Colombe himself and learned the secrets of composition under Lully. Marais’ works included in this recording are taken from three different collections. In each case, according to the performance practice of that time, musicians themselves decided about the final sound shape by choosing the parts and line-up of the continuo. Chronologically the oldest work among these included in the recording is the Suite in D major, chosen from the third volume of Pieces de viole (1711). The choice of parts suggested by the performers is also an expression of their tribute to tradition – the central position is taken by four dances supplemented by a slow prelude, which is figured slightly in the Italian style of Fantaisie, nostalgic Plainte, airy Rondeau and elaborate Chaconne. Musicians interpreted the Suite in A minor from the fourth volume of Pieces de viole (1717) in a different way and highlighted its parts with a light and rustical character – a playful Gavotte and Muzettes are here as well as a lively miniature with a suggestive title La Sautillante, and the whole is opened with the Prelude, expressive and full of dissonant harmonies. On the other hand, the Suite in A minor from the fifth volume of Pieces de viole (1725) contains movements which are pathetic and melancholic at the same time. The work is opened with a celebratory Prelude, full of rhetorical leaps and numerous dissonances, which brings to mind operatic recit or solemn, funerary tombeau. The short and airy Allemande la Facile (easy), that appears later, leads to a Sarabande characterized by a noble pathos. The monumental and brooding mood reappears in the miniature La Mariee in a pair of minuets as well as in the Rondeau, which closes the work. A peculiar counterpoint to subtle works of Marais is provided by three miniatures by Forqueray presented on the album. The first piece of the recorded ones – the miniature La Couperin – is a musical portrait of one of the members of the famous musical family.