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Forqueray: Pièces de viole avec la basse continuë Paris, 1747

Recorded in Montevarchi di Arezzo, Italy, in February 1994 and April 1995

Paolo Pandolfo (viola da gamba), Guido Balestracci (viola da gamba), Rolf Lislevand (theorbo & Baroque guitar), Eduardo Egüez (theorbo & Baroque guitar) & Guido Morini (harpsichord)

I love the shifting textures in this recording as plucked and bowed strings entwine themselves in different combinations in the continuo parts. Pandolfo frees himself from metric restraints,...

Forqueray: Pièces de viole avec la basse continuë Paris, 1747

Recorded in Montevarchi di Arezzo, Italy, in February 1994 and April 1995

Paolo Pandolfo (viola da gamba), Guido Balestracci (viola da gamba), Rolf Lislevand (theorbo & Baroque guitar), Eduardo Egüez (theorbo & Baroque guitar) & Guido Morini (harpsichord)

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This release includes a digital booklet

Stream now lossless, 44.1 kHz, 16 bit
I love the shifting textures in this recording as plucked and bowed strings entwine themselves in different combinations in the continuo parts. Pandolfo frees himself from metric restraints,...

About

Marin Marais and Antoine Forqueray represent the two leading figures from the world of the French viola da gamba with – in the opinion of a contemporary in Hubert Le Blanc – the former playing like an angel and the latter like a devil. And fiendishly difficult to play, of course, are many of the pieces brought together in the volume prepared by Jean-Baptiste Forqueray (‘le fils’) in 1747, two years after the death of his father, and drawn from sketches and memories. These Pièces de viole avec la basse continuë, dedicated to Princess Henriette of France (the younger of Louis XV’s twin daughters), serve as a final and grand homage to an instrument, which after 70 years of an absolute rule was by that time starting to cede territory to the cello...

Glossa now bring back into circulation, in a newly-prepared edition, the recording which introduced Paolo Pandolfo to the label, where he was joined by a starry group of fellow performers in Guido Balestracci, Rolf Lislevand, Eduardo Egüez and Guido Morini. The exemplary texts of Edmond Lemaître and Pierre Jaquier further enhance a legendary album, one which confirmed Pandolfo, now some 15 years ago, as one of the greatest viola da gambists of our own present time.

Contents and tracklist

I. Allemande, La Laborde: Noblement et avec Sentiment
Track length6:24
II. La Forqueray: Vivement et d'aplomb
Track length2:16
III. La Cottin: Galamment sans lenteur
Track length2:47
IV. La Bellemont: Avec Gout et sans lenteur
Track length4:22
V. La Portugaise: Marque et d'aplomb
Track length4:31
VI. La Couperin: Noblement et marque
Track length5:26
I. La Bouron
Track length3:07
II. La Mandoline
Track length3:33
III. La Du Beuil
Track length4:02
IV. La Leclair
Track length2:50
V. Chaconne, La Buisson
Track length5:28
I. La Marella
Track length3:20
II. La Clement
Track length6:13
III. Sarabande, La D' Aubonne
Track length4:16
IV. La Bournonville
Track length1:56
V. La Sainscy
Track length3:50
VI. Le Carillon de Passy
Track length4:41
VII. La Latour
Track length3:16
VI. Le Carillon de Passy (excerpt)
Track length3:03
I. La Ferrand: Vivement
Track length6:09
II. La Regente: Noblement et son tenu
Track length6:31
III. La Trochin: Mouvement aise
Track length4:08
IV. La Angrave: Tres vivement (by Jean-Baptiste Forqueray)
Track length2:53
V. La Du Vaucel (by Jean-Baptiste Forqueray)
Track length4:13
VI. La Eynaud: Fierement
Track length3:42
VII. Chaconne: La Morangis ou La Plissay (by Jean-Baptiste Forqueray)
Track length7:57
I. La Rameau: Majestueusement
Track length4:43
II. La Guignon: Vivement et detache
Track length4:00
III. La Leon, Sarabande. Tendrement
Track length4:08
IV. La Boisson: Vivement, les pinces bien soutenus
Track length4:11
V. La Montigni: Galamment sans lenteur
Track length6:25
VI. La Sylva: Tres tendrement
Track length4:13
VII. Jupiter: Modérément
Track length7:46

Awards and reviews

December 2011

I love the shifting textures in this recording as plucked and bowed strings entwine themselves in different combinations in the continuo parts. Pandolfo frees himself from metric restraints, and the melodies unfold gorgeously.
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