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Le Parnasse De La Viole - Saint-colombe Le Fils, Marais


Release Date: 08/12/2003 
Label:  Alia Vox   Catalog #: 9829   Spars Code: n/a 
Composer:  M Sainte-Colombe le filsMarin Marais
Performer:  Jordi SavallJean-Pierre MariellePhilippe PierlotPierre Hantaï,   ... 
Number of Discs: 3 
Recorded in: Stereo 
Length: 2 Hours 42 Mins. 

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Notes and Editorial Reviews

"In spite of the energetic research in recent years, we still know very little about the Sainte-Colombes, father and son. Marin Marais (briefly a pupil of the father and a contemporary of the son) and his music are better known. Both the elder Sainte-Colombe and Marais came into greater prominence as a result of the 1991 film Tous les matins du monde. However, neither the film nor the novel by Pascal Quignard on which it was based makes reference to the existence of Sainte-Colombe le fils. We now know that the family was Protestant and the son seems to have sought refuge in Britain when Louis XIV revoked the Edict of Nantes, which granted religious and civil liberties to Protestants, in 1685. As a Catholic, Marais was free to make his way Read more in Paris and at court as an opera composer and viol player. These recordings offer fascinating musical evidence of the ways in which the bass viol repertoire developed as a result...
Jordi Savall has served for many years as the supreme exponent of French viol playing. If there are younger players challenging him now for that position it is because he taught them so well and because it is inevitable that it should be so. In the early days he infused his playing with his considerable personality; later he became more introspective and now he would seem to have achieved a sublime equilibrium that suits Marais very well. During the 1990s he recorded some of the concerts (with Wieland Kuijken and Christophe Coin) and solo pieces of the Sainte-Colombes. It was his playing that served as Sainte-Colombe’s in the film.Although the existence of the music of Sainte-Colombe le fils has been known for some time, it is rarely performed. Savall has remedied the situation by recording all that is known, and it is revelatory, especially when juxtaposed with Marais’ music. It was perhaps inevitable that the son’s music owed more to the father’s than did Marais’. Lully, after all, was Marais’ true mentor, and it was Marais’ long apprenticeship at the Opéra that sharpened his skills as a composer and a communicator.Marais worked with Sainte-Colombe le fils only a very short time. And yet, as you will hear, the son developed his own distinctive voice, rather as CPE Bach later did. The formal disciplines of Lully are absent from his suites and yet they have moments of rhetorical power and they range widely in their expression. They are more self-indulgent, more wayward than those of Marais. Like his father, Sainte-Colombe le fils makes frequent use of the seventh string and chords, although they lack the grace of those of the other composers and the harmonic richness of Marais. Savall’s performances may seem surprisingly unsentimental, but at least for me they reflect a deep engagement with the music, for which I am grateful. It is surely not by chance that Savall chose to record this music on a 1697 seven-string instrument made in London by Barak Norman. Does he think Sainte-Colombe le fils may have asked or inspired the English maker to add a seventh string to some of his renowned bass viols?" -- Julie Anne Sadie, GRAMOPHONE Read less

Works on This Recording

1.
Suitte for Viola da Gamba solo in E minor by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba)
Period: Baroque 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 22 Minutes 58 Secs. 
2.
Suitte for Viola da Gamba solo in A minor by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba)
Period: Baroque 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 9 Minutes 8 Secs. 
3.
Suitte for Viola da Gamba solo in B minor by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba)
Period: Baroque 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 12 Minutes 58 Secs. 
4.
Suitte for Viola da Gamba solo in G minor by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba)
Period: Baroque 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 17 Minutes 49 Secs. 
5.
Suitte for Viola da Gamba solo in F major by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba)
Period: Baroque 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 13 Minutes 46 Secs. 
6.
Suitte for Viola da Gamba solo in F minor by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba)
Period: Baroque 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 18 Minutes 8 Secs. 
7.
Tombeau pour Monsieur de Sainte-Colombe le Père by M Sainte-Colombe le fils
Performer:  Jordi Savall (Viola da gamba), Jean-Pierre Marielle (Spoken Vocals)
Period: Baroque 
Written: France 
Date of Recording: 02/2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 13 Minutes 5 Secs. 
Language: French 
8.
Pièces de viole, Book 2: Suite no 8 in E minor by Marin Marais
Performer:  Philippe Pierlot (Viola da gamba), Jordi Savall (Viola da gamba), Pierre Hantaï (Harpsichord),
Rolf Lislevand (Theorbo), Rolf Lislevand (Guitar), Xavier Díaz-Latorre (Theorbo),
Xavier Díaz-Latorre (Guitar)
Period: Baroque 
Written: by 1701; Paris, France 
Date of Recording: 2003 
Venue:  Collegiate Church, Cardona Castle, Spain 
Length: 34 Minutes 52 Secs. 
9.
Pièces de viole, Book 2: Suite no 4 in B minor by Marin Marais
Performer:  Philippe Pierlot (Viola da gamba), Xavier Díaz-Latorre (Guitar), Xavier Díaz-Latorre (Theorbo),
Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo), Pierre Hantaï (Harpsichord),
Jordi Savall (Viola da gamba)
Period: Baroque 
Written: by 1701; Paris, France 
Venue:  Collegiate Church, Cardona Castle, Spain 

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