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
Pierlot is one of the world's most exciting gambists - as amply demonstrated
in this compelling recording.
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