Sieur de Sainte-Colombe (c.
1640-c.1700)
Concerts à deux
violes esgales
Réédition / Reissued
Alia Vox AVSA9885
Code-barres/Barcode
7619986398853
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Édition remasterisée |
Remastered edition |
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Super Audio CD |
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Artistes / Performers :
- Jordi Savall (basse de
viole à sept cordes, Barak Norman, Londres, 1697
- Wieland Kuijken, (basse de viole à sept cordes,
Nicolas Bertrand, Paris, 1704)
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- Tome I Lieu d'enregistrement / Recording site:
Église romane de Saint-Lambert des Bois, Yvelines |
- Tome II Lieu d'enregistrement / Recording site:
Église romane de Saint-Lambert des Bois, Yvelines |
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Tome
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Tome
II |
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MP3
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MP3
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Évaluations recensées / Reviews located |
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 Opus Haute Définition Par: Jean-Jacques Millo |
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 Par: Monique Parmentier |
 Par: Thierry Hervé |
Passée des Arts 13/11/2011 |
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 Par/By:Christiane Bayer |
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| Gramophone- (11/1993) Re: Vol I & II |
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GRAMOPHONE
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Texte intégral anglais
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Julie Anne Sadie Full text-: When the complete works of the mysterious Sieur de Sainte-Colombe were published in 1973, few viol players had even heard of him. The music, concerts for two equal bass viols with its cascades of unmetred notes, was unlike anything seen before. While of considerable pedagogic interest for the way they teach musicians to play in an improvisatory fashion, they were considered rather difficult to bring off in concert. But if anyone could, it would be Jordi Savall and Wieland Kuijken. In 1976 they recorded five, which were subsequently reissued on CD in 1988, and now five more in 1992, in the wake of the success accorded the fictional film Tous les matins du monde (about the relationship between Sainte-Colombe and his pupil, the court viol player Marin Marais), for which Jordi Savall provided the soundtrack. There is in fact a tremendous difference of character between the performances. The earlier recording now seems to have an air of gruff perfunctoriness about its pacing, as if the players were somehow ill at ease. The force of the music had evidently made a lasting impact on Savall, who used several of the movements—from "Le retour" and the "Tombeau les regrets"—in the film which he re-recorded with his former pupil Christophe Coin. It is all the more interesting that Savall should have collaborated again with Kuijken on a second CD, and to such extraordinary effect. We have in the second recording
a series of refined virtuoso dialogues. The rapport between
players and with the music is sublime: elegiac in the extended
passages of echoes in La conference, wonderfully seductive
in Le tendre (which was also used in the film soundtrack)
and almost able to make time stand still in La rougeville.
Gone is the tension one senses in the earlier recording, replaced
by an unrivalled rapport that will be truly satisfying to those
who have avidly followed their musical development during the
intervening years. I enjoyed this second CD immensely. |
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| Gramophone- (02/1978) Re: Vol I |
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GRAMOPHONE |
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R.F. Full text-: A rather bizarre review... ! Published for the first edition of vol. I of the "Concerts à deux violes esgales" by Telefunken - LP 6.42123 AW in the "Das Alte Werk" collection. It is an occupational hazard for record reviewers that they are sometimes sent music by composers they’ve never heard of. Naturally I hoped to be able to pass on a few sentences from the sleeve-note writer, but it turns out that he knows scarcely any more than the nothing that I know. Even the composer’s;s christian name is forgotten. But it does seem likely that Sainte Colombe taught that other composer for the viola da gamba, Marin Marais, and it is quite certain that he composed (in the late 1600s) as many as 67 of these viola da gamba duets. But are they for viola da gamba? "Deux violes esgales" suggests they were meant for any size of viol, and on this record the sound does get improbably growly when both instruments are playing at the bottom of the compass. The sleeve is not too reliable about distinctions in this field, attributing "15 viola da gamba fantasies" to Purcell, and elsewhere translating viola da gamba as viola. Another bad mark: there is nowhere a list of the items in each “concert”. I was unsurprised to be told that the significance of the titles is for the most part "incapable of interpretation". Much the biggest “concert” is La dubois. It starts with a long rhapsodical piece which must be difficult technically and even more difficult interpretatively, and it is much to the credit of the players that they make sense of it. It must be fascinating to work up a deux the sort of rapport that results in such unanimity, and of course this music was primarily intended for the players. But as a mere listener I must confess that the record does rather seem to go on and on, and if they are thinking of bringing out the Complete Works I shan’t be queuing up for them. The little dances are sometimes mildly charming, but often not charming enough. I enjoyed some movements, such as the sad little piece at the beginning of Tombeau les regrets, but this is really a record for other gamba players and specialists in the period. The playing is outstandingly sensitive and musicianly. |
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 12:1 (Sept/Oct 1988) |
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Reviewer:
Edward Strickland
COUPERIN Pièces de Violes 1728: First and Second Suites. • Jordi Savali and Ariane Maurette, viole da gamba; Ton Koopman, harpsichord. • ASTRÉE E 7744 SAINTE COLOMBE Concerts for Two Equal Viols. • Wieland Kuijken and Jordi Savali, viole da gamba. • ASTRÉE E 7729 These recordings date from 1976 and have been available for some years in LP format from Astrée, and in the case of the Couperin from Telefunken as well. The CD transfers boost the volume quite a bit, especially in the Sainte Colombe, which may be a shade too aggressive sonically. Nonetheless, both CDs have real immediacy and provide a great deal of pleasure. The Couperin is still recommended to all and sundry. The viol pieces do not receive that much attention relative to other works of his, and this is a shame, for they are often rapturously, if lugubriously, beautiful. Sainte Colombe is equally lugubrious, and indeed the highlight of the five suites presented here remains Concert XLIV: Tombeau Les Regrets. Indexing is by suite, which is an annoyance, since the suites range from seven to 18 minutes in length. Thus LP access is easier than CD. In addition, the LP notes reappear here in slightly abridged form. Sainte Colombe, as is well known, ended Marais' studies with him, saying he had nothing more to teach him, and in fact the student far surpasses the teacher as a composer. Nonetheless, this disc has great charm and feeling, thanks to the placement of the deux violes esc/ales in the equally gifted hands of Kuijken and Savall.
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(Site: http://www.medieval.org)
Re: Vol. I - Astrée - 7729 - Re: Vol. II - Astrée - 8743
Article fort intéressant à propos de
la viole de gambe:
"La
vie après la mort ~ La viole de gambe au XVIIIème siècle"
par
Peter Holman
Paru dans: Goldberg, # 42 (Octobre 2006, pp. 48-58)
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Réédition / Reissued
Alia Vox AVSA9885
Code-barres/Barcode
7619986398853
WILL SHIP ANYWHERE IN THE WORLD
EXPÉDITION PARTOUT DANS LE MONDE|
Sainte-colombe: Concerts A Deux Violes Esgales - Jordi Savall (Viol), Wieland Kuijken (Viol) Alia Vox:9885
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RÉCOMPENSES 2010
Nous avons recensé plus de 60 enregistrements en musique
ancienne et baroque qui ont été encensés par la critique au cours de
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Accédez au dossier complet
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