Romina Lischka and Sofie Vanden Eynde - En Suite (Marais, de Visée & Sainte Colombe) (2015) [Hi-Res]

Tracklist

01. Prélude en Mi Mineur, Pièces de violes, Quatrième livre (Paris 1717)
02. Allemande La Magnifique en Sol Majeur, Pièces de violes, Troisième livre (Paris 1711)
03. Courante en Mi Mineur, Pièces de violes, Second livre (Paris 1701)
04. Sarabande à l’espagnole, Pièces de violes, Second livre (Paris 1701)
05. Gigue en Mi Mineur, Pièces de violes, Second livre (Paris 1701)
06. Rondeau le Bijou, Quatrième livre (Paris 1717)
07. Le petit Badinage, Cinquième livre (Paris 1725)
08. Tombeau pour Mr. de Sainte Colombe, Pièces de violes, Second livre (Paris 1701)
09. Suite en ré mineur: I. Prélude
10. Suite en Ré majeur: I. Prélude
11. Suite en Ré majeur: IV. Allemande
12. Suite en ré mineur: VI. Allemande
13. Suite en Ré majeur: VII. Courante
14. Suite en ré mineur: X. Courante
15. Suite en ré mineur: XV. Sarabande
16. Suite en Ré majeur: X. Sarabande
17. Suite en Ré majeur: XII. Gigue
18. Suite en ré mineur: XVI. Gigue
19. Suite en ré mineur: Chaconne
20. Les Voix humaines, Pièces de violes, Second livre (Paris 1701)
21. La Rêveuse, Pièces de violes, Quatrième livre (Paris 1717)
22. Le Badinage, Pièces de violes, Quatrième livre (Paris 1717)


The viola da gamba and the theorbo are string nobility: an artistic duo embodying the height of grandeur and sophistication. Indeed, the sense of intimacy that can arise between the two in French baroque repertoire provided the impetus for this recording. Though different in appearance and technique —one is bowed, the other plucked — both instruments have more in common than might at first seem.

The viola da gamba’s finest hour, however, both in terms of composition and performance, was undoubtedly the result of the work of one man, Marin Marais (1656-1728). It is of course possible to hear echoes, in Marais’ eccentric style of performance and composition, of his beloved and inspiring teacher Sainte Colombe (c. 1658–1701), about whose life and career we sadly know very little. It was however Sainte Colombe who pioneered the technical innovations needed to make expressive and virtuosic solo performance on the bass viol possible, e.g. by introducing silver-wound strings, which produced a more clearly defined sound. He also added an extra bass string and modified playing technique to allow the left hand to move more freely. Marin Marais’ haunting instrumental lament 'Tombeau de Ste Colombe' is a pupil’s enduring testament in honour of his master.

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