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Marais: Pièces de Viole, Livre I

Atsushi Sakai, Christophe Rousset (early keyboard instruments), Marion Martineau

These are not theatrical performances, nor are they too restrained. Sakai’s playing is sure-footed and robust, but not boorish, and his sound is balanced and resonant in all registers. Again,...

Marais: Pièces de Viole, Livre I

Atsushi Sakai, Christophe Rousset (early keyboard instruments), Marion Martineau

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This release includes a digital booklet

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These are not theatrical performances, nor are they too restrained. Sakai’s playing is sure-footed and robust, but not boorish, and his sound is balanced and resonant in all registers. Again,...

About

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’s frequently intimate music, a far cry from Courtly splendours, calls up an imaginary world of light and shadow.

Atsushi Sakai has launched a series of recordings of this unique collection of pieces. This album, the first, is devoted to Book I, a transitional work that confirms the refinement of the ‘style François’.

Viola da gambist Marion Martineau and harpsichordist Christophe Rousset join Atsushi Sakai on this adventure, recreating the trio that stood out so brilliantly in their Forqueray and Couperin albums.

Contents and tracklist

No. 1, Prélude
Track length5:26
No. 8, Allemande
Track length4:02
No. 9, Double
Track length2:56
No. 10, Courante
Track length1:50
No. 11, Double
Track length1:59
No. 12, Sarabande
Track length4:26
No. 19, Gigue
Track length3:11
No. 22, Rondeau
Track length3:13
No. 4, Prélude
Track length4:02
No. 23, Menuet
Track length1:32
No. 24, Rondeau
Track length4:51
No. 48, Prélude
Track length6:28
No. 49, Allemande
Track length3:04
No. 50, Courante
Track length2:15
No. 51, Sarabande
Track length4:48
No. 52, Gigue
Track length1:46
No. 53, Gavotte
Track length1:14
No. 54, Menuet
Track length1:28
No. 55, Prélude
Track length3:27
No. 73, Prélude
Track length2:42
No. 74, Allemande
Track length3:51
No. 75, Courante
Track length2:20
No. 76, Sarabande
Track length3:37
No. 77, Gigue
Track length3:14
No. 78, Gavotte en rondeau
Track length2:37
No. 79, Menuet
Track length1:43
No. 80, Gavotte
Track length1:14
No. 82, Chaconne
Track length7:29
No. 66, Prélude
Track length5:53
No. 67, Allemande
Track length4:32
No. 68, Courante
Track length2:09
No. 69, Sarabande
Track length4:59
No. 70, Gigue
Track length2:12
No. 71, Gavotte
Track length1:31
No. 72, Menuet
Track length1:40
No. 56, Prélude
Track length2:08
No. 57, Boutade
Track length1:09
No. 58, Allemande
Track length1:54
No. 59, Double
Track length1:56
No. 60, Courante
Track length1:35
No. 61, Sarabande
Track length4:42
No. 63, Gigue
Track length2:21
No. 64, Menuet
Track length1:38
No. 65, Rondeau
Track length7:05
No. 30, Prélude
Track length1:56
No. 32, Allemande
Track length2:09
No. 33, Double
Track length2:06
No. 34, Courante
Track length2:03
No. 38, Sarabande
Track length4:23
No. 40, Gigue
Track length2:01
No. 42, Rondeau
Track length3:58
No. 47, Chaconne
Track length7:06

Awards and reviews

May/June 2022

These are not theatrical performances, nor are they too restrained. Sakai’s playing is sure-footed and robust, but not boorish, and his sound is balanced and resonant in all registers. Again, Martineau is a fine collaborator, and Rousset’s continuo playing is idiomatic and inventive.
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