Mara Meets Marais; Mara Kiek and the Marais Project; CD MMMP001
This new disk is due for its official launch on Sunday 29th April (see Concert Diary), but I’d be surprised if you can’t score a copy before then. The Marais Project for this recording comprises Jennifer Eriksson and Catherine Upex, violas da gamba; Tommie Andersson, lute & theorbo; and Belinda Montgomery, voice & percussion. Mara’s ensemble is Mara Kiek, voice & percussion; Llew Kiek, bouzouki & gittern; and Steve Elphick, double bass. The title might sound like a collision of sorts, but in the product, each ensemble retains its identity whilst sharing resources.
Mara ensemble’s use of percussion, plucked instruments and bass are easily recognizable, as is Mara Kiek’s crusty voice. Their music delivers a substantial sound, fattened here with gamba fill. The 13th century pieces – seven cantigas from the Martin Codex, and a character laden anon Spanish ballad, sung by both Belinda and Mara, are distinctly flavoured.
The cantigas tracks, in succession, total around 28 minutes and could have easily tended to sameness, but the instrumental and rhythmic variations work as saviour. In the more recent works – Marais, Dowland and Bouteiller – gamba and lute/theorbo are to the fore, with double bass reinforcing the bottom end.
Marin Marais, of course, is included via the Suite in F Major (Pieces de viole, 1725). Here the recording quality is obvious, where the bowing is the breath of the work. The double bass adds depth and growl to the continuo but still leaving ample space for the theorbo’s heartbeat.
Dowland’s Now, O now, I needs must part, is left to Belinda, lute and a little gamba support – it is balanced and serene. The motet, O fidelis et dilecte commensalis, by Bouteiller, although religious, is similar to the Dowland, but with more room for expression and an instrumental focus toward the gamba.
The disk is recorded in the Eugene Goossens Hall using the ABC’s resources. It captures both ensembles at their best – creamily blended, precise and as they would be pleased and proud to be depicted.
From “Early Music News” Feb-Mar, 2012 by Neville Olliffe. Reprinted with permission