Atsushi Sakai, Christophe Rousset, Marion Martineau – Forqueray: Pièces de viole (2016) [Official Digital Download 24bit/96kHz]

Atsushi Sakai, Christophe Rousset, Marion Martineau - Forqueray: Pièces de viole (2016) [Official Digital Download 24bit/96kHz] Download

Atsushi Sakai, Christophe Rousset, Marion Martineau – Forqueray: Pièces de viole (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 03:19:27 minutes | 3,86 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Aparté

Chaque apparition d’Atsushi Sakai et Christophe Rousset laisse un souvenir inoubliable à ceux qui ont eu la chance de les entendre communier sur scène. Partenaires de longue date, ils sont réunis pour la première fois au disque autour d’un compositeur pour lequel ils vouent un véritable culte : le mystérieux Forqueray. Antoine Forqueray, né à Paris en 1672, est avec Marin Marais l’un des plus grands violistes de tous les temps. Sa vie sulfureuse a nourri de nombreuses légendes. Célèbre pour ses improvisations virtuoses, il ne publie aucune de ses quelques trois cents pièces et meurt en 1745 à Mantes. Mises à part quelques pièces manuscrites copiées dans des recueils de différents auteurs, les pièces de Forqueray ont été perdues. La publication des Pièces de viole, auxquelles est consacré le présent enregistrement, demeure ainsi le seul témoignage important de son œuvre.
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Atsushi Sakai, Christophe Rousset, Marion Martineau – Marin Marais: Pièces de viole, Livre I (2021) [Official Digital Download 24bit/96kHz]

Atsushi Sakai, Christophe Rousset, Marion Martineau - Marin Marais: Pièces de viole, Livre I (2021) [Official Digital Download 24bit/96kHz] Download

Atsushi Sakai, Christophe Rousset, Marion Martineau – Marin Marais: Pièces de viole, Livre I (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 02:58:23 minutes | 3,76 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Aparté

Marin Marais is one of the most important figures of the French baroque. At once a virtuoso on the viola da gamba, a composer and a teacher, Marais left behind a varied body of work that displays strikingly abundant inspiration. Five Books of viol music punctuated his life. Published between 1686 and 1723, these collections for solo and accompanied viol not only offer a remarkable synthesis of the practices of the time; they also bear witness to the development of the instrument. Marais’ frequently intimate music, a far cry from Courtly splendors, calls up an imaginary world of light and shadow.
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Atsushi Sakaï, Christophe Rousset, Marion Martineau, Isabelle Saint-Yves – Couperin: Pièces de viole (2018) [Official Digital Download 24bit/96kHz]

Atsushi Sakaï, Christophe Rousset, Marion Martineau, Isabelle Saint-Yves – Couperin: Pièces de viole (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:55 minutes | 1,17 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Aparté

In 1730, the catalogue of Couperin’s works that headed his Fourth book of harpsichord pieces mentioned ‘pieces for viol with figured bass’, but apparently no such collection had ever appeared in his name. Musicians long regretted that they must do without these compositions, which seemed to be lost, or even never published. There the matter rested until the early twentieth century, when a perspicacious musicologist discovered a book of pieces for viol by a mysterious Mr. F. C. and connected it with Couperin. Then the pieces of the puzzle fell perfectly into place: the initials the date of 1728 on the title page, the book’s title, Pièces de violes avec la basse chiffrée, and even its retail price of ‘6 livres tournois’ as in the announcement in the catalogue. Upon perusing the score, any final doubts melted away. In addition to the use of embellishments typical of Couperin, the broad style, the flavoursome harmony and the obscure titles of the second suite fully reflect Couperin’s artistry and confirm the paternity of these pieces. It is curious, given the exquisite quality of the set, that the composer preferred to conserve a certain form of anonymity. Should we see in this no more than the coquetry of someone who cultivated a taste for enigma throughout his life, or a sign of respect in dealing with an instrument that was not his own? The pieces by Forqueray that punctuate this recording come from scattered manuscript sources. While Antoine Forqueray’s output for viol was essentially transmitted by his son Jean-Baptiste, who published a posthumous Livre in 1747, certain pieces – those on this recording in particular – have survived as copies. The three pieces do not stand completely apart from the rest of Forqueray’s œuvre, but they do display a style closer to that of the early eighteenth century and they are sometimes marked by an Italianate flavour that recalls the sonatas of Corelli. Atsushi Sakai plays on a copy of a French bass viol dated 1687, Christophe Rousset a copy of a Flemish Ruckers harpsichord of 1624, Marion Martineau a copy of a Parisian bass viol of 1693 and Isabelle Saint-Yves another copy of exactly the same instrument!

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