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This concert features the richly amber tones of the viola da gamba – an instrument beloved by Bach and by the French – in music by Boismortier, CaixD’Hervelois, Lambert and Forqueray, from an era characterized by formality, procedure, and excess, but also subtlety and ambiguity. With virtuoso gambist Shaun Ng, Song Co.’s soprano Anna Fraser and harpsichordist Diana Weston.
Classikon
https://www.classikon.com/review/thoroughbass-music-to-tap-your-foot-to/
‘how satisfying it is to attend a concert such as this with outstanding performers presenting music that is rarely heard and probably difficult to purchase on CD.’
Sounds like Sydney:
http://soundslikesydney.com.au/reviews/concert-review-tout-francaisthoroughbass/17791.html
Sydney Arts Guide:
https://www.sydneyartsguide.com.au/thoroughbass-tout-francais-st-lukes-anglican-church-mosman/
November 16 2014, St Luke’s Church, Ourimbah Rd, Mosman
Program Notes
Joseph Bodin de Boismortier (1689-1755) Suite No. 1 in G from 34 Movements in 5 Suites (Op. 31) 1730 for Bass Viol and Basso Continuo
Louise-Maurice de la Pierre (1697- ?) Danaé from Cantatilles à voix seule, Vol. 2
Jean-Baptiste Forqueray (1699-1782) Jupiter
Louis de Caix d’Hervelois (1670-1759) Suite No. 1 from Premier Livre de Pieces de Viole avec la Basse-Continuë (1715
Michel Lambert (1610-1696) J’ay si bien publié vos attraits mes vainqueurs and Les regards de Philis avoient tant de douceu
Almost all of the music from the era of the Sun King (1643-1715), Louis XIV, was based on one thing – the dance. You could say that Louis XIV ruled by the dance. The dance was a method of hierarchical construction and discipline used to subtly demonstrate the superior rights of the king… as well as providing courtly entertainment. And while courtly dancing provided a means of flirtation and intrigue and could be enjoyable, it was also to be taken deadly seriously, as a clumsy foot could jeopardise ambitious social pretensions and earn the displeasure of the king.
Louis XIV’s influence on musical style was felt well beyond the walls of Versailles – both in terms of distance and time. Composers for viole such as Boismortier, Caix d’Hervelois, Forqueray, Marais, and others produced gavottes, menuets, bourées, sarabandes and gigues by the hundreds. (It was said of Boismortier that his fertile pen could give birth to a new volume every month). What’s more, dance rhythms were felt even in songs and opera, as well as other types of instrumental music. The suite with its collections of dance movements was the predominant form and became synonymous with French music.
In this concert, lesser-known composers who (with the exception of Lambert who enjoyed royal favours) made their living either by teaching and arranging (Forqueray), composing and publishing (Boismortier), or performing (Caix d’Hervelois) are presented. Very little is known of their lives except to say that they were masters of the viole, an instrument that was to disappear from general use in the mid-eighteenth century. Despite the copious quantity of dance tunes that emerged, much of it light and facile, the works for viole are of a different order. Boismortier’s suite is constructed with virtuoso violists in mind, including Caix D’Hervelois, whom he emulated and admired. Included amongst this handful of expert viole players is Jean-Baptiste Forqueray who came from a family of musician/violists. Many of his harpsichord pieces, such as Jupiter, started out life as a viole piece, only to be later arranged for harpsichord in order to increase saleability.
Program notes: Diana Weston
