Marin MARAIS (1656 - 1728)
Folies
Suite in D: Prélude [3:06]; Bourasque [0:34]; Couplets de Folies
[19:27]
Suite in A [25:31]
Suite in E [25:07]
Suite in D: Chaconne [4:40]
Philippe Pierlot (viola da gamba), Rainer Zipperling (viola da gamba
[bc]), Eduardo Egüez (theorbo), François Guerrier (harpsichord)
rec. October 2011, church of Basse-Bodeux, Belgium. DDD
FLORA 2511 [78:27]
In the 17th century two instruments were predominant
in music life in France: the lute and the viola da gamba. During the
second half of the century the lute gradually lost its prominent place
to the harpsichord. The viola da gamba became the main asset of French
musical culture and was vehemently defended by ardent supporters of
French taste against 'attacks' from adherents of the Italian style.
It was especially Marais Marais who was their hero as his music was
the symbol of everything French musical culture stood for.
Although Marais contributed to other genres as well - for instance the
trio sonata and opera - the main part of his output is to be found in
the five books with music for viola da gamba. These comprise a number
of suites in various keys, although it is left to the performer to make
his own choices from the various pieces.
This disc includes music from the second book, printed in 1701: two
suites in A and in E major respectively as well as some pieces in D
major. One of the features of French culture under Louis XIV was a certain
amount of formalism, which reflects the atmosphere at the court of Versailles.
Along with that go restraint and moderation, especially in the expression
of emotion. These features are certainly present in the music of Marais,
for instance in the adherence to the traditional dances which dominated
French music of the 17th century. It is only in his latest books that
Marais increasingly includes character pieces which became popular in
the first decades of the 18th century and which dominate the harpsichord
books of François Couperin. The later books also show an increasing
influence of the Italian style.
One should not however make the mistake of assuming that Marais' music
is devoid of expression. Far from it. The tombeau, a kind of
musical homage to an admired person, especially other musicians, bears
witness to that. Marais composed such pieces for his teachers, Lully
and Sainte-Colombe. Slow dances such as sarabandes and pavanes are also
full of expression. The Pavane selon le goût des Anciens Compositeurs
de luth from the Suite in E is a particularly beautiful example.
Here Marais pays tribute to the art of the French lutistes who
were so highly esteemed in the 17th century. Some pieces include strong
contrasts, for instance the prélude from the Suite
in A which is underlined by the Philippe Pierlot's sharp 'attack'.
Marais' music is a technical challenge for every performer. That is
certainly the case with the Couplets de Folies, a sequence of
32 variations on the famous dance which was the subject of so many compositions
in the baroque era. Some variations are very virtuosic, others are elegant
and refined. Pierlot is highly compelling. He produces a strong and
penetrating sound when it is needed, and plays the more introverted
pieces with great subtlety and variety of colour. These variations are
preceded by one of the most extroverted pieces on this disc, Bourasque,
which can mean either a gust of wind or an outburst of anger. Whatever
it may mean, it is short and heavy. The Suite in A ends with
two very fine pieces: in the Echo the gambist has to change his
dynamics in order to suggest another instrument answering his own. The
ensuing Fantasie also requires fine dynamic shading which Pierlot
realises perfectly.
It is a shame that this disc comes without any information about the
music. It deserves better, but it seems that this reflects the label's
policy as some of its other releases also omit a booklet. This should
not dissuade anybody from purchasing it. Pierlot is one of the world's
most exciting gambists and that is amply demonstrated in this compelling
CD. I should not forget to mention the excellent support of Rainer Zipperling,
Eduardo Egüez and François Guerrier, who not only add colour
to these performances but also show a perfect sense of the rhythmic
pulse which obviously is crucial in music based on dances. They make
the listener feel these rhythms, and that is how it should be.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
