The story to date
“The Marais Project’s” August 14 concert “Viol Song” is a journey through music for viol and voice that spans five countries and four centuries. It reflects both where “The Marais Project” has come from and where we might be headed.
When I founded the ensemble in 2000 the immediate aim was to play the complete 600 works of Marin Marais, the great viola da gambist and composer from the time of Louis XIV. We are now 70% through this task and the project of The Project, so to speak, is evolving. I’ve realized that what we are really doing is basing a string ensemble around the viola da gamba rather than the violin family. To this end there are three sets of repertoire we draw on.
- Firstly, the solo repertoire for bass viol and chamber music written with the viola da gamba or bass viol in mind.
- Secondly, there is the more normal fair of providing viola da gamba continuo support for a melody instrument such as the violin.
- Finally, we draw upon the repertoire we have commissioned or arranged for the ensemble. Most commissions to date have featured two viola da gambas, theorbo and voice or violin while the arrangements consist of everything from medieval songs to Edith Piaf to transcribing baroque pieces from, say, violin to viola da gamba.
“Viol Song” synthesizes the three repertoire sources named above in that the bass viol appears as a soloist, a chamber instrument, in a world premiere of a new commission and in several unusual arrangements. (See the complete run sheet below)
The music
The concert commences with two convention arrangements. Juan Arañés’ chacona was the first piece for voices by a Spanish composers to appear in print while Pierre Guédron, was the greatest composer of “Airs de cour”, courtly songs which dominated secular music France in the early 17th century.
Then follows John Dowland who was one of the finest lutenists and song composers of all time. Dowland also wrote achingly beautiful works for viol consort. Here the viols typically play one or more contrapuntal lines while the lute and voice are at the fore.
The instrumental pieces have been chosen to complement the songs. The music theorist Jean Rousseau states that the viol player should “imitate everything charming and agreeable that the voice can do with tenderness and delicacy”. In Marais’ “Les voix humaines” the performer is not only required to make the melodies sing but to sustain several independent voices. Along with his solo works Marais also composed some delightful trio sonates. The D major trio selected for “Viol Song” was originally written for flute, violin and continuo. Following the baroque tradition of arranging music for the available instruments I have adapted this piece for violin, viola da gamba and continuo.
Likewise, with permission, lutenist Tommie Andersson has arranged “Revolving Doors” by Australian composer Elena Kats-Chernin which was originally a solo piano piece. There is a lovely link between the last two pieces on the program in that Elena was born in Russia and while tenor Andrei Laptev has Russian parents and speaks the language fluently. “Ah, Nastasya”, arranged by Dan Walker, is a traditional Russian folk song which was sung to Andrei by his grandfather when we was a young boy.
The two featured contemporary works were both commissioned for The Marais Project. Rosalind Page wrote “Aquarelle” for us in 2009. It is scored for two viola da gambas, theorbo and violin. This lyrical piece draws on the composer’s reflections on the River Seine. When we first premiered the work two years ago the audience loved it. “Aurora Prone” by Dan Walker will receive its first performance at this concert. I have admired the several pieces of Dan’s I had heard over the years and was so grateful when he agreed to set some poems by Les Murray for us with tenor Andrei Laptev as soloist. The setting is again for two viola da gambas, violin and theorbo but with tenor voice added.
Risk and reward?
We’ve taken some risks in this program in that it is not an early music concert nor can it be classified as “contemporary”. All in all, as I noted above, it is a synthesis of the key themes that have emerged over the past 10-12 years and which will, I expect, guide us into the future.
Program Running Order – “Viol Song”
- Chacoña – Juan Arañés (? -1649)
- Cessés mortels de soupirer – Pierre Guédron (c. 1570 – c. 1620)
- “Aquarelle” (2009) – Rosalind Page
- “Les voix humaines” (human voices) – Marin Marais (1656-1728)
- PIèces en Trio – Marin Marais – transcribed by Jennifer Eriksson
- From silent night – John Dowland (1563 – 1626)
- “Aurora Prone” – Dan Walker (three poems by Les Murray)
– Cell DNA
– Lotus Dam
– Aurora Prone
- Revolving Doors – Elena Kats-Chernin (b1957) – arranged by Tommie Andersson with permission
- “Ah, Nastasya” Traditional – arranged by Dan Walker
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When: 3.00pm Sunday August 14th, 2011
Where: Recital Hall East, Sydney Conservatorium of Music, Macquarie St, Sydney
Cost: $30/20 Family ticket $80 (2 adults + 2 children)
Tickets: Ph 9809 5185; at the door or on line purchase www.maraisproject.com.au
Media contact: Philip Pogson 0412 459 156
Jenny Eriksson, July 2011