Marin Marais - La Rêveuse / Bass Viol Pieces (Century’s recording : Sophie Watillon)

Classical Music/ /Reference Recording

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Monsieur de Sainte-Colombe (XVIIe Siècle) Chaconne reportée à deux violes esgales (00:00) Composé par Monsieur de Sainte-Colombe qui aimait s’isoler l’été dans une cabane de bois au milieu de son jardin, et que Marin Marais aurait espionné quelque temps en se faufilant sous ladite cabane pour profiter un peu plus de ce maître qui ne l’ait pas gardé très longtemps, ayant considéré qu’il n’avait plus rien à lui apprendre. Marin Marais (1656-1728) - Pièces pour la viole Prélude en harpègement - rondement / Ve livre (05:15) Fantaisie / IIIe livre (07:53) Grand Ballet / IIIe livre (08:55) Caprice ou Sonate - lent, très légèrement / IV livre (13:28) Muzette / IV livre (18:07) Tombeau pour M. de Sainte-Colombe / IIe livre (20:27) La Rêveuse / IIe livre (27:42) Dialogue - légèrement / Ve livre (33:03) Plainte - lentement / IIIe livre (36:05) Chaconne / Ve livre (39:28) Couplets de Folies / IIe livre (42:41) Basse de Viole : Sophie Watillon Basse de Viole : Friederike Heumann Théorbe & Guitare Baroque : Xavier Diaz Guitare Baroque : Evangelina Mascardi Clavecin : Luca Guglielmi Stéréo recording in 2002, at Belgium Label : Alpha Today, as in his lifetime, Marin Maris is recognised as one of the great figures in the French school of bass viol performers and composers of the Grand Siècle (the reign of Louis XIV seen as France’s period of political and cultural pre-eminence). Marai’s life was not particularly remarkable. Time were not easy for a man born into the lower social strata, but he was a respectable man, who exercised his profession to the best of his ability and saw that his family was safe from want. His career was more impressive. Born the son of a cobbler, he could have adopted his father’s trade ; instead he worked his way up to the privileged and most enviable position of violist to King Louis XIV. The most important part of Marais’s musical output is the series of bass viol pieces, which he published in five collections between 1686 and 1725. Marin Marais’s bass viol pieces represent the apogee of the genre. And at the same time one might say that they mark the end of the great period of French viol music. For no composer after him made such an important contribution to literature for the viol. Erik Kocevar Hommage aux maître violiste Après tant d’années de recherche, redécouvertes, travail… un des messages merveilleux, peu abordé, car relevant de la délicatesse, fragilité, intimité… et du don de soi : faire paraître l’émotion dans l’oreille humaine… Cette émotion rendue par le grand résonateur, ce corps humain en bois creux qu’est la basse de viole qui suscitera toujours l’émerveillement qu’une seule source sonore puisse parler tant de langues et… disposer de tellement d’émotions. Sophie Watillon A tribute to the great masters of the viol After years of effort, research, rediscovery, it becomes clear that the most important, the most marvellous feature of the viol is its capacity to move the human ear, to put across emotion. Though the delicacy, fragility and intimacy of which it is capable, and through the selfless devotion of the musician. Emotion produced by the instrument’s great resonator, like a human body made of hollow wood. The bass viol will always fill us with wonder : that a single sound source is capable of speaking so many languages… creating so many different emotions. Sophie Watillon Baroque composers PLAYLIST (reference recordings) https://www.youtube.com/playlist?list=PL3UZpQL9LIxMlLk5PrRXJs-Mv9_GV2eZi

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