Tag Archives: Marin Marais

Wigmore Mondays – Lucie Horsch & Thomas Dunford: Music for Recorder and Lute

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Lucie Horsch (recorder, above), Thomas Dunford (lute, below)

Wigmore Hall, Monday 10 February 2020 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood

The recorder does not appear to have great appeal or exposure to the concert-going public, yet with a few more concerts like this from Lucie Horsch and Thomas Dunford could change that perception very quickly indeed.

The Dutch player Horsch is still only 20, but she demonstrated incredible virtuosity and command of the four or five different instruments she called upon in this recital. Not only that but her musical instincts were extremely sound, her communication with equally stylish lute player Thomas Dunford borne of friendship and a shared enjoyment of the music. It said much that when the solo pieces were being performed, the instrumentalist not involved listened closely and often smiled in response to the phrases they heard.

The well-planned concert was packed with music from the 16th, 17th and 18th centuries, with a brief excursion to the 20th for a brave and brilliantly realised arrangement of Debussy’s Syrinx. That appeared fourth in a list of 11 pieces from no fewer than 10 composers, performed in four logical blocks.

Horsch and Dunford started together with the Sonata Seconda in stil moderno by Venetian composer Dario Castello (from 1:58 on the broadcast link). If you listen you will hear the purity of the recorder’s tone, on a soprano instrument, and the mottled sound of the lute which complements it ideally. It may sound as though Dunford is playing with a very relaxed air, but watching him confirmed there is a lot of work going on behind the scenes for the part to sound so instinctive. As the sonata unfolds here Horsch demonstrates her bravura in the faster music.

Dowland’s Preludium (7:31) follows, a subdued, slightly downcast piece for lute that works well as an introduction for Horsch’s own arrangement of the famous song Flow, my tears (12:19). Here the two communicated beautifully, even with the vocal line slightly tampered by the recorder’s limitations on producing vibrato.

This is followed by the Suite no.5 in F from the French composer Charles Dieupart, a set of six dance movements prefaced by an Ouverture (16:35). The dances are an Allemande (17:46) with an attractive lilt, then a lively and spiky Courante (20:54); both are countered by a slower Sarabande (22:11). Then comes a Gavotte with a spring in its step (24:24), a Menuet en rondeau (25:19) and finally a lively Gigue (26:46), where Dunford’s lute strumming gives a good snap to the rhythms.

We then jump forward over 200 years for Horsch’s own arrangement of Debussy’s famous solo flute piece Syrinx (28:48). This is a remarkable performance, given the definition Lucie gets from the very difficult lower notes on her recorder. Here the subdued but sonorous tones take on an exotic and faintly South American air.

She turns to a slightly smaller instrument for the Philidor, a Sonata in D minor with four movements. It begins with a slower introduction (32:16), an intricate fast movement with the players swapping melodies (34:33), an elegant Courante (35:37) and a much more deliberate Les notes égales et détachez (36:45), which blossoms into a lively fast section.

For the next sequence of three pieces we get an idea of how far the performers have looked for this programme, with a really nice blend of moods and colours. Les Voix Humaines (40:26), an arrangement of a piece for solo viol by Marin Marais, is subdued but stylish in Dunford’s solo lute performance. That blends into the enchantment of François Couperin’s nightingale, strongly evoked by Horsch in Le rossignol-en-amour (44:00). Horsch then gives a short but moving dance from Dutch composer Jacob van Eyck (46:35). Recercadas by Diego Ortiz (48:47) is a florid response, with the lute strummed like a guitar. Then comes the remarkably modern sounding world of Joan Ambrosio Dalza’s Calate ala spagnola (51:30), with repeated notes anticipating tremolos in much later guitar music, brilliantly played by Dunford before the music fades away.

Finally the Marais Couplets de folies (54:48), a set of variations on the famous tune La Folia. Dunford’s lute sets out the theme before the recorder enters. Its lines grow in difficulty, and there were some eye-popping moments of virtuoso brilliance from Lucie Horsch here. With the two performers sat together they still cut a relaxed presence, as though both were performing in your own front room. An unnamed encore, unfortunately dropping off the end of the broadcast, encapsulated the bright and instinctive music of the previous hour.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

Castello Sonata Seconda in stil modern (published 1629) (1:58)
Dowland Preludium (7:31); Flow my tears (12:19) (both 1600)
Dieupart Suite No. 5 in F major (publ. 1701) (16:35)
Debussy Syrinx (1913) (28:48)
Philidor Sonata in D minor (publ. 1712) (32:16)
Marais Les Voix Humaines (publ. 1701) (40:26)
François Couperin Le rossignol-en-amour (publ. 1722) (44:00)
van Eyck Lavolette (publ. 1646) (46:35)
Ortiz Recercadas (unknown, 16th century) (48:47)
Dalza Calate ala spagnola (unknown, 16th century) (51:30)
Marais Suite in D minor – Couplets de folies (Les folies d’Espagne) (publ. 1701) (54:48)

Further listening & viewing

The music from this concert can be heard in the playlist below, with some of the repertoire appearing on Horsch and Dunford’s most recent release Baroque Journey. The original versions of Dowland’s Flow, my tears and Marais’ Le Voix Humaines are included.

Baroque Journey is itself a very enjoyable listen, showing off the complementary talents of both of the soloists in this concert:

Meanwhile the music of Charles Dieupart can be explored in the company of Henry Purcell, both composers’ music for recorder making up this album from Hugo Reyne and La Simphonie Du Marais:

Finally a link to the remarkable music of Marin Marais and the second book of his Pièces De Viole, played by the masterful Jordi Savall:

Wigmore Mondays – Jean Guihen Queyras & Alexandre Tharaud play Debussy, Poulenc, Marais & Bach

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Jean Guihen Queyras (cello, above), Alexandre Tharaud (piano, below)

Wigmore Hall, Monday 28 October 2019 (lunchtime)

You can listen to this concert on the BBC Sounds app here (opens in a new window)

Review and guide by Ben Hogwood
Photo credits Marco Borggreve

Who could possibly be better suited for this concert among today’s musicians than cellist Jean Guihen Queyras and pianist Alexandre Tharaud? The long-established pairing constructed a hugely enjoyable programme of dance-based music for the combination, from two composers who were still writing for the viola da gamba to two writing for the modern cello but harking back to that older era.

The viola da gamba was on its way out when J.S. Bach and Marin Marais wrote their respective pieces for it. They did not know at the time, but it was about to lose its popularity to the cello, which – with one less string and eventually a spike for the player to hold it in – gradually took over.

Bach’s sonata, for viola da gamba and harpsichord, is equally rewarding when played by cello and piano as here, with great sensitivity and a lyrical line to the melodies from Queyras. The first movement Adagio (1:43 on the broadcast link) was beautifully weighted, as was the quicker but equally graceful Allegro (3:18). Both players found the deeper emotion of the Andante (7:06), Bach moving into the key of B minor for some aria-like soul searching. The final movement Allegro (11:03) was a delight, the benefit of an established musical partnership clear to see and with nicely judged ornamentation from Tharaud.

Marais wrote extensively for the lower end of the stringed instrument family, and his Pieces de viole contain music that is as challenging for the players as it is rewarding for the audience. This three-movement suite, arranged for the modern cello by Christian Döbereiner, contained a slower Prélude (16:53) and Sarabande grave (25:33) that Queyras and Tharaud played eloquently, the cellist finding wonderful clarity in his higher range. These shorter movements framed the main act, several variations on the popular tune La Folia titled Couplets sur Les Folies d’Espagne (19:11), which, while apparently played without repeats, is where we had the real fireworks. There was terrific playing from both and a heightened sense of drama ran throughout.

Poulenc originally wrote his Suite Française for orchestra in 1935 as part of a ballet score, but it proved equally effective in a piano arrangement made later that year. This version for cello and piano was made in 1953, for performance by the composer with French cellist Pierre Fournier. Based on the music of 16th century composer Claude Gervaise, it is a charming suite of seven dance movements looking back some four hundred years, merging the musical language of that time with Poulenc’s perky writing and crunchy harmonies. It was brilliantly realised here.

The seven dance pieces are as follows: a lively Bransle de Bourgogne (30:13), a consoling Pavane (31:40), then a cheeky Petite marche militaire (34:00). The suite continues with an eerie Complainte, the cello in its highest register (35:17), then a largely reflective Bransle de Champagne (36:26), graceful Sicilienne (38:10) and ceremonial Carillon (39:29)

Debussy’s Cello Sonata (43:07) is one of the cornerstones of the cello repertoire, a late masterpiece with clear instructions that the pianist should ‘not fight the cello, but accompany it’. At its centre is a remarkable, forward looking second movement with an improvisatory air and extended episodes for pizzicato (plucked) cello.

This was a terrific performance, Tharaud starting off with a forthright opening statement but responding with great care to the nuances of Queyras and his beautifully shaded tone. The pair caught Debussy’s moods – his bold statements but also the furtive corners of the piece, which sometimes feels like it is hiding in the undergrowth on a hot summer evening.

Both elements were clear in the first movement, and also in the second (47:15), a Sérénade where Debussy’s fragments were all joined together. Queyras had the perfect range of pizzicato colours, but also the clarity of tone right at the top of the register. Tharaud complemented him with the ideal lack of sustain on the stumbling piano figurations and the weight of his responses.

All the while this music was headed for the quickfire finale (50:33), which in its short bursts of melody had charm, worry and glorious colour in equal measure, never quite letting go completely until the final bars and Queyras’ authoritative statement.

As a generous encore the pair complemented the Debussy with Rodion Shchedrin’s entertaining In the style of Albéniz (55:28), not dissimilar to the second movement of the Sonata in its evocative tones but more outrageous in its melodies and harmonies. Queyras and Tharaud set it up brilliantly to cap a memorable recital.

Repertoire

This concert contained the following music (with timings on the BBC Sounds broadcast in brackets):

J.S. Bach Viola da gamba Sonata no.2 in D major BWV1028 (before 1741) (1:43)
Marais (1656-1728) Suite in D minor: Prelude (16:53), Couplets sur Les Folies d’Espagne (19:11), Sarabande (25:33)
Poulenc Suite française (1935, arr. 1953) (30:13)
Debussy Cello Sonata in D minor (1915) (43:07)
Encore – Shchedrin In the style of Albéniz (1973)

Further listening

You can listen to the music heard in this concert on Spotify below, including Queyras and Tharaud in the works by Poulenc and Debussy:

Poulenc also wrote a Cello Sonata, which forms part of an album with works for cello and piano with works by Debussy, delivered by the Queyras and Tharaud pairing here:

As this concert illustrated, French composers were particularly skilled at taking inspiration from the Baroque and Classical periods of classical music (from c1650 to 1800). The playlist below enjoys some of the best examples, headed by Ravel’s Le Tombeau de Couperin but also including works by Fauré, Debussy and Poulenc:

Wigmore Mondays: Hille Perl & Lee Santana – Dreams and Dances of the Sun King

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Hille Perl (viola da gamba), Lee Santana (theorbo, above)

Louis Couperin (c1626-1661) Prélude in D minor (1:54-3:08)
Jean de Sainte-Colombe (1658-c1701) Les Couplets (3:10-8:50)
Marin Marais (1656-1728) Suite du troisième livre de pieces de viole – Allemande, Courante, Sarabande & Gigue (10:23-14:18)
Antoine Forqueray (1672-1745) Le Leclair from Pieces de viole (15:57-22:38)
Marin Marais Le Badinage; Le Labyrinthe (from 4ème livre des pieces de viole) (24:32-38:06)
Robert de Visée (1655-c1732) Prélude; Les Sylvains de Mr Couperin; Muzette (all for solo theorbo) (39:16-47:33)
Marin Marais Les folies d’Espagne from Deusième livre de pieces de voile (49:34-59:18)

Wigmore Hall, London; Monday 30 April 2018

You can listen to the BBC Radio 3 broadcast by clicking here

Written by Ben Hogwood

It is not often we have the chance to enjoy a concert of music for the combination of viola da gamba and theorbo, but the Wigmore Hall and BBC Radio 3 gave us that privilege with the vastly experienced team of Hille Perl and Lee Santana.

Perl plays a seven-string instrument, and if you’re not familiar with the viola da gamba it is essentially an early cello, but without a spike – so you have to grip it between the knees when playing to stop it from slipping. With seven strings this instrument has a wide range, and thanks to a carefully chosen programme we were able to appreciate its very different qualities at each end of its range.

In support was Lee Santana, using two different theorbos. When watching a player like this in action there is always a worry that the instrument’s long neck will take out the other occupants of the concert platform, but thankfully this did not occur! The timbre of a theorbo is very appealing, a kind of more mellow early version of the guitar, and both instruments had a lovely subtle resonance from the Wigmore Hall acoustic to help them.

Their program was based around the reign of the 17th century Sun King, Louis XIV of France, who loved to have music played for him during mealtimes and in his court. Some of the music here could easily accompany a meal, though some was pleasingly energetic and clearly written for a more vigorous form of dancing.

Perl began with a florid Prélude for solo viola da gamba from Louis Couperin (1:54 on the broadcast link), showing off the wide melodic range of the instrument, with wonderful resonance on the lowest note – an open ‘A’ string – and a broad, slightly mellow treble. Then Santana joined almost imperceptibly, in the same key, for Les Couplets, with the unmistakable lilt of a triple time dance – before a more improvisatory section over a set harmonic pattern, building to an impressive and vigorous finish.

The Marais, a collection of movements from a much bigger suite, began with an expansive Allemande (10:23), a slow dance form of German origin, then a graceful French Sarabande (12:10), with more vibrato applied by Perl. 13:28 a brisk Gigue.

The Forqueray piece (15:57), a tribute to the composer Leclair, made some formidable demands met head on by Perl’s virtuosity, again running like a form of chaconne (using a set pattern of chords). Listen from 20:16 to Perl’s rapid passagework, the bow flitting across the strings.

Le Badinage (from 24:32 repeats quite a sombre figure to hypnotic effect, crossing the strings on both viola da gamba and theorbo – and here the mellow tone of Perl’s instrument was ideal, despite an explosive interlude or two. Following this, Le Labyrinthe (28:26) felt more ceremonial, before heading into the higher register, and then stretching out into a much more substantial set of variations over a set chord progression. Once again, brilliantly played with plenty of room in terms of keeping a natural rhythm.

We then heard three pieces for solo theorbo by Robert de Visée, beginning with the free-spirited Prélude (39:16). The graceful Les Sylvains de Mr Couperin followed, then a Muzette (44:08).

Finally we heard a hugely impressive performance of the 32 variations making up Les folies d’Espagne (from 49:34), bringing both instruments together and utilising the practice of double stopping (more than one string on the viola da gamba played simultaneously). It was a stylish tour de force!

Further listening

You can listen to almost all of the music played in this concert on the Spotify playlist below, which includes recordings already made by Hille Perl: