Jean-Baptiste Antoine Forqueray was one of the leading
proponents of the viol and one of the finest musicians of his time.
He had a tumultuous relationship with his father, also a violist, who
had him imprisoned because he was jealous of his son's talent. Three
years after the death of Forqueray père, the son published a
book of pieces he claimed were by his father, although it seems that
he actually wrote them. This recording is an innovative reading of some
of these works, arranged for an ensemble, rather than for viol and continuo
(Forqueray also published a version of the same pieces for solo harpsichord.)
The music is gay and delightful, fitting in perfectly
with the specific idiom of 18th century French music for the viol. Harmonically
and technically these are demanding works, and melodically they are
quite successful. This recording features an ensemble of from three
to seven musicians, according to the individual movements. The results
are somewhat mixed; at times, the ensemble fits well with the music,
providing the lushness and depth it calls for, as in the third movement,
the Chaconne, of the first Divertissement. The interweaving of the different
instruments as the chaconne progresses is delightful, and gives the
music a wonderful texture. The pardessus de viole, however, has a slightly
astringent sound at times, and attracts a bit too much attention. The
first movement of the fourth Divertissement, La Tronchin, might sound
better with a smaller group of instruments. Its melody is less complex,
and a solo viol would bring it out much better.
The first piece, called Jupiter, a moderate movement
in the first Divertissement, has an uncanny resemblance to Michael Nyman's
music in The Draughtsman's Contract. It has a repetitive melody, and
a similar instrumental sound. Of course, Nyman used baroque music to
influence his compositions for the film soundtrack; probably not this
exact music, but this gives an idea of the tone.
The third Divertissement is the most restrained piece
on this recording. Its three movements are all played nobly and gracefully,
as marked, and are more introspective than the more lively dancing music
of the other pieces. It is perhaps here that the ensemble sounds its
best, with just four instruments, focusing more on the tone and melodies
than trying to declaim a rhythm. There is a great deal of subtle orchestration,
here; the choice of augmenting this piece, as compared to the original
scoring for viol and harpsichord, is quite good.
Overall, this is a very interesting recording. The
sound is a bit overdone at times; I would have preferred fewer instruments
in some of the pieces. But the arrangements are interesting, and the
music itself is delightful and melodically satisfying. For fans of 18th
century French music, this recording is certainly recommended.
Kirk McElhearn