The Viole Divine
The viole bastarda is the name Italians dubbed the six-stringed viola da gamba as a virtuosic instrument. We prefer to call it divine. At the pinnacle of its popularity in the mid-eighteenth century, when French composers were writing for the limits of its capacity, the gamba’s future seemed assured. Not so. As Italian music continued to flourish and influence, the rougher-edged cello shouldered it aside taking over its role in continuo playing, and as a solo instrument. Bach maintained the gamba had greater expressivity than the cello and continued to write for it, hence the collection of 3 sonatas for viola da gamba and harpsichord. This concert showcases the viola da gamba in its various facets – as solo instrument, in duet, and as accompaniment – in music by Bach, Rameau and Marais. Included in the program is Marais’ popular La Sonnerie de Saint Genevieve. With Shaun Ng (viola da gamba), Tara Hashambuoy (baroque violin) and Diana Weston (harpsichord).
The Rose Room, 51F Sunninghill Ave, Burradoo
Saturday, August 8 2015 at 4 pm
St Luke’s Anglican Church, Ourimbah Rd, Mosman
Sunday August 9 at 3 pm
Review
‘All five items on the programme revealing the nature of eighteenth century chamber music complexities, ensemble textures and period ornamentation were delivered by Thoroughbass’ trio of violin, harpsichord and the featured viola da gamba.’
Thoroughbass always seeks to present something a little out of the ordinary. It might be a never-before-performed work, a new composition, a guest artist, an associated sensory experience. With The Viole Divine we present an unusual instrument – the viola da gamba.
The viola da gamba belongs to a family of stringed instruments known as ‘violes’. Popular in the 16th, 17th and well in the 18th centuries, they then fell out of favour and disappeared until the resurgence of interest in early music in the mid-20th century. The viole family consisted of a range of instruments from low to high, just like the violin family. However, while superficially similar to that family, there are essential differences – in body shape and size, tuning, bowing, the way they are held and played, and in sound quality. Popular because they could be played at social and family gatherings by people of differing skills, by the early to mid-18th c. virtuosic pieces of great complexity were also being written – mostly by French composers during the reign of Louis XIV. One of the most famous of these was Marin Marais. Bach, being a bit of a die-hard, also admired the gamba and composed (or possibly transcribed from a previous composition for two violins), three sonatas for gamba and harpsichord, one of which you will hear today.
Of the five miniature masterpieces known as Pièces de Clavecin en concerts published in 1741, Jean-Philippe Rameau suggested in his notations that a violin (or flute) and a viole (or cello) could be included if desired. In other words, they are pieces primarily for harpsichord, with optional extras. The additional instrumentation creates a chamber music work of equal parts, an unusual approach which asks the violin and gamba to compliment the harpsichord rather than the other way round. As was customary with French composers, each of the movements has a name – possibly to honour a noble personage, or to reflect the personality of a colleague. Like the elaborate dress and powdered wigs affected by members of the Louis XIV’s court, these pieces are coated with a multiplicity of ornaments. In order to make the most of this copious, indulgent yet exquisite detail, the tempi of the pieces should not be too quick, for then the detail is lost. In addition, the tempo is all-important in defining the piece’s character – as jaunty rather than hectic (as in La Vézinet), or extroverted but controlled (as in La Forqueray).
JS Bach, in his Sonata in G min also assigns a prominent role to the harpsichord, breaking from the long-held convention of harpsichord as ‘basso continuo’ playing from a figured bass. One of only three sonatas that Bach wrote for viola da gamba, its intricate interweaving of parts which never seems to come to an end, makes it a challenge for both players. Unlike Rameau, there is hardly an ornament marking to the seen in Bach’s compositions. But that’s because he writes them out – so there’s no escaping those tricky little turns and twiddles. A die-hard AND distrustful!
Sonnerie (Bells) de St. Genevieve du Mont de Paris was composed in 1723 by Marin Marais (1656 – 1728). Based on a ground bass of only three downwardly moving notes, this extraordinary piece, a chaconne, embodies all that is noble and grand in French composition of the 18th c. Marais, a master of the viole, demonstrates the virtuosic capability of the instrument combining the forever-changing melody with that of the violin.
Bach’s chorale Ich ruf’ zu dir, Herr Jesu Christ (Unto Thee I cry, Lord Jesus) from the church cantata BWV 177 also exists as a chorale prelude for organ (BWV 639) which Bach included in the Orgelbüchlein (Little Organ Book) and from which this arrangement is made.
