En Suite: Music for viola da gamba and theorbe by Marais, Sainte-Colombe & de Visée

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This is a marvellous disc ... Romina Lischke [has] a very attractive impulsiveness, and a brilliant technique. — Early Music Review, April 2015

Release Date: 9th Feb 2015
Catalogue No: PARATY814129
Label: Paraty
Length: 72 minutes

Marais, M: Pièces de Viole, Quatrième livre, Suite in E Minor

Work length2:40

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Romina Lischka, Sofie Vanden Eynde

Prélude en Mi Mineur (Paris 1717)

Track length2:40

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Marais, M: Livre 3, Suite No.7: Allemande La Magnifique en Sol Majeur (Paris 1711)

Work length3:09

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Romina Lischka, Sofie Vanden Eynde

Marais, M: Pièces de Viole, Pièces de viole, Livre 2, Suite in E Minor

Work length1:28

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Romina Lischka, Sofie Vanden Eynde

Courante en Mi Mineur (Paris 1701)

Track length1:28

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Marais, M: Pièces de Viole, Pièces de viole, Livre 2, Suite No.6

Work length2:41

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Romina Lischka, Sofie Vanden Eynde

Sarabande à l'espagnole (Paris 1701)

Track length2:41

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Marais, M: Pièces de Viole, Livre 2, Suite en Mi Mineur

Work length2:36

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Romina Lischka, Sofie Vanden Eynde

VII. Gigue

Track length2:36

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Marais, M: Pièces de Viole, Quatrième livre, Suite in E Minor

Work length2:42

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Romina Lischka, Sofie Vanden Eynde

Rondeau le Bijou, Quatrième livre (Paris 1717)

Track length2:42

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Marais, M: Pièces de Viole, Cinquième livre, Suite No.6 in G major

Work length2:15

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Romina Lischka, Sofie Vanden Eynde

Le petit Badinage, Cinquième livre (Paris 1725)

Track length2:15

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Marais, M: Pièces de Viole, Pièces de viole, Livre 2, Suite No.6

Work length6:55

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Romina Lischka, Sofie Vanden Eynde

Tombeau pour Mr. de Sainte Colombe (Paris 1701)

Track length6:55

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Sainte Colombe the younger: Suite en ré mineur

Work length3:53

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Romina Lischka

I. Prélude

Track length3:53

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Visée: Suite en Ré majeur

Work length4:46

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Sofie Vanden Eynde

I. Prélude

Track length1:22

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IV. Allemande

Track length3:24

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Sainte Colombe the younger: Suite en ré mineur

Work length2:50

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Romina Lischka

VI. Allemande

Track length2:50

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Visée: Suite en Ré majeur

Work length1:39

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Sofie Vanden Eynde

VII. Courante

Track length1:39

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Sainte Colombe the younger: Suite en ré mineur

Work length7:55

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Romina Lischka

X. Courante

Track length3:37

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XV. Sarabande

Track length4:18

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Visée: Suite en Ré majeur

Work length5:45

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Sofie Vanden Eynde

X. Sarabande

Track length4:21

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XII. Gigue

Track length1:24

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Sainte Colombe the younger: Suite en ré mineur

Work length8:36

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Romina Lischka

XVI. Gigue

Track length2:29

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Chaconne

Track length6:07

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Marais, M: Pièces de Viole, Pièces de viole, Livre 2, Suite in G Major

Work length3:07

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Sofie Vanden Eynde, Romina Lischka

Les Voix humaines (Paris 1701)

Track length3:07

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Marais, M: Pièces de Viole, Quatrième livre, Suite in E Minor

Work length4:04

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Sofie Vanden Eynde, Romina Lischka

La Rêveuse (Paris 1717)

Track length4:04

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Marais, M: Le Badinage, Pièces de violes, Quatrième livre (Paris 1717): Le Badinage, Pièces de violes, Quatrième Livre (Paris 1717)

Work length5:14

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Sofie Vanden Eynde, Romina Lischka

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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.

Reviews

Early Music Review April 2015

This is a marvellous disc ... Romina Lischke [has] a very attractive impulsiveness, and a brilliant technique.

En Suite

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