Paolo Pandolfo - Mr. De Machy: Pieces de Violle (Suite de danses. Paris, 1685) (2012) [Hi-Res]

Tracklist

01. Pieces de violle: Suite No. 8 in A Major: I. Prelude
02. Pieces de violle: Suite No. 8 in A Major: II. Allemande
03. Pieces de violle: Suite No. 8 in A Major: III. Courante
04. Pieces de violle: Suite No. 8 in A Major: IV. Sarabande
05. Pieces de violle: Suite No. 8 in A Major: V. Gigue
06. Pieces de violle: Suite No. 8 in A Major: VI. Gavotte
07. Pieces de violle: Suite No. 8 in A Major: VII. Menuet
08. Pieces de violle: Suite No. 1 in D Minor: I. Prelude
09. Pieces de violle: Suite No. 1 in D Minor: II. Allemande
10. Pieces de violle: Suite No. 1 in D Minor: III. Courante
11. Pieces de violle: Suite No. 1 in D Minor: IV. Sarabande
12. Pieces de violle: Suite No. 1 in D Minor: V. Gigue
13. Pieces de violle: Suite No. 1 in D Minor: VI. Gavotte
14. Pieces de violle: Suite No. 1 in D Minor: VII. Menuet
15. Pieces de violle: Suite No. 4 in G Major: I. Prelude
16. Pieces de violle: Suite No. 4 in G Major: II. Allemande
17. Pieces de violle: Suite No. 4 in G Major: III. Courante
18. Pieces de violle: Suite No. 4 in G Major: IV. Sarabande
19. Pieces de violle: Suite No. 4 in G Major: V. Gigue
20. Pieces de violle: Suite No. 4 in G Major: VI. Gavotte en rondeau
21. Pieces de violle: Suite No. 4 in G Major: VII. Chaconne
22. Pieces de violle: Suite No. 5 in D Major: I. Prelude
23. Pieces de violle: Suite No. 5 in D Major: II. Allemande
24. Pieces de violle: Suite No. 5 in D Major: III. Courante
25. Pieces de violle: Suite No. 5 in D Major: IV. Sarabande
26. Pieces de violle: Suite No. 5 in D Major: V. Gigue
27. Pieces de violle: Suite No. 5 in D Major: VI. Gavotte
28. Pieces de violle: Suite No. 5 in D Major: VII. Menuet



With his performance of the music of De Machy, Paolo Pandolfo is enriching the recorded survey of solo viola da gamba music with a very special contribution; such as he has done before with his recordings of music by Sainte-Colombe, Abel or of his most warmly-received recording, the Bach Cello Suites in their transcription for viola dagamba. The publication of the 'Pièces de Violle' (Paris, 1685), the first literature for the viola da gamba in France, unleashed a veritable polemic or querelle with Jean Rousseau concerning the “true manner of playing the viola”, which had been described by De Machy with a wealth of details in the prologue to his work and in which radiates an enormous sense of aplomb and certainty. His advocacy for the viola da gamba as a harmonic (or chordal) as well as a melodic instrument was to go on to have a significant influence on later composers such as Marin Marais and Antoine Forqueray. With his recording and also in his accompanying essay, Paolo Pandolfo places special emphasis on one facet of these pieces which tends to pass unnoticed: their danceable character. Countless sources from the time tell us about the vigorous interest in dance in the 17th century, a passion practiced in an almost obsessive way, not only by court nobility, but by the rural aristocracy and the wealthier bourgeoisie as well.

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