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Notes and Editorial Reviews
Visée did not compose in the manner of his predecessors among lutenists, Gautier, Dufault, and Gallot, nor even of his contemporaries Couperin and Marais. He creates continuous melodies, avoiding the style brisé of the lutenists, with simple harmonies. He was a musician who tried to keep up with what was modern in his time, despite the unsuitability of the theorbo for virtuoso passages, up-to-date harmonies, and the performance of the new dances (gigue, bourrée, minuet and gavotte). It is quite revealing that his last edition of lute music 'mise en partition' (1716) is aimed at other instruments. In this publication Visée proposes suites for theorbo transcribed for two voices, which can therefore be played by a treble and a bass instrument.
Pascal Monteilhet also reminds us of the canons of good taste during this period - amongst other things, to serve the music more than oneself - and reveals that there is still organological research to be done on the making of theorbo strings - sometimes more than two metres long - in order to reconstruct the sound of the instrument at the time of Robert De Visée. 'A CD of infinite poetry and rare delicacy, which the refined art of Monteilhet places beyond all argument: the dance slips unobtrusively into these performances, underpinned by the lively tempos, the flexibility of line and the graceful mastery of ornamentation' - Le Monde (Marie-Aude Roux) Read less
Works on This Recording
Suite for Theorbo in G major by Robert de Visée
Amélie Michel (Flute),
Amandine Beyer (Violin),
Pascal Monteilhet (Theorbo),
Marianne Muller (Viola da gamba)
Average Customer Review: ( 1 Customer Review )
Delightful June 7, 2013
By Daniel M. (Lee's Summit, MO) See All My Reviews
"I only recently discovered the Theorbo. This is my first CD featuring this wonderful sounding instrument. The audio quality and performance are both first rate. My only complaint is for tracks 8 through 14; suite pour Theorbe et Violon. The violin is way too loud and over-powers the Theorbo."