The prospect of Jordi Savall's first appearance ever at Princeton's McCarter Theatre Center, on February 22, 2019, excited Central New Jersey viol players: SavalTs tour, with Le Concert des Nations, ...was to feature music inspired by Tons les Matins du Monde, the 1991 film about Marin Marais and Le Sieur de Ste. Colombe (for which Savall played the soundtrack).
Paris chez l’autheur Broude, Ronald
Early music,
05/2017, Letnik:
45, Številka:
2
Journal Article
Recenzirano
The texts self-published by such late 17th-century French performer-composers as Chambonnières, Marais and Gaultier are, by definition, ‘authoritative’. Their authority, however, is quite different ...from that of authoritative sources in later repertories, repertories in which musical works are stable entities defined in detail by texts serving as instructions that performers are expected to follow literally. These self-publishing composers were first and foremost performers who composed largely for themselves and their intimates, and each composition married musical conception and personal performing style in ways that do not obtain when a composer composes for a wider public. Self-publication was the means by which these performer-composers sought to control the texts in which their compositions circulated. The detailed texts found in their publications were neither prescriptive (instructions to be followed literally), nor descriptive (transcriptions of particular performances), but exemplary, representations of sample performances in the composers’ personal styles that purchasers of their publications could emulate. This is the significance of their authority.
Marin Marais's first collection of music for basse de viole, Pieces à une et à deux violes, was published in two partbooks: the viol partbook appeared in 1686, and the basse continue partbook was ...printed in 1689. In preparing his critical edition of this collection, John Hsu identified some 413 readings in which the earliest copies off the press differed from later copies. These differences were the results of changes that Marais authorized to be made to the plates from which the partbooks were printed. Some scholars have assumed that the differences reflected changes in the way that Marais played the pieces in the collection, but careful analysis of the variants indicates that both states of the plates represent essentially the same interpretations. Some (a very few) of the changes were made to correct errors; some were made to incorporate musical second thoughts; some were made to adapt pieces composed for unaccompanied viol to the presence of a basse continue; but the overwhelming majority were made to provide additional technical or interpretative data—fingerings, bowings, ornamentation—to amplify the instructions provided in the earlier states. The motive behind this detail was to encourage--indeed, to the extent possible, to oblige—players to perform the pieces as the composer himself did. The quality of his music apart, it is the level of detail and the concern for representing components of performance that makes Marais's publications so valued today.
Throughout most of Louis XIV's reign, Marin Marais served as viol player in the king's chamber and occasionally as opera composer and orchestra conductor. He is best known today as the most ...successful of Sieur de Ste-Colombe's protégés and the most prolific French composer for viol, publishing over 550 solo works. Until several manuscript pieces came to light in the 1970s, no known manuscript tradition was associated with Marais; these pieces for viol were brought from Paris to Scotland during the 1670s or 1680s. The three manuscripts, which include 44 unica and predate by several years Marais's first publication in 1686, have received only modest attention from scholars or performers. Furthermore, comparison of the handwritings with Marais's signature and other large examples in archival documents demonstrates that two of the manuscripts are predominantly autograph, the only such manuscripts known from any major French viol player.
Appartient à l’ensemble documentaire : IconMUS1
Appartient à l’ensemble documentaire : IconMUSNum
Appartient à l’ensemble documentaire : IconMUS0
Part of the documentary ensemble: IconMUS1
Part of ...the documentary ensemble: IconMUSNum
Part of the documentary ensemble: IconMUS0
Appartient à l’ensemble documentaire : IconMUS1
Appartient à l’ensemble documentaire : IconMUSNum
Appartient à l’ensemble documentaire : IconMUS0
Description des éléments : Huile sur toile.
Date de création : 1704. Ancienne collection Jules Gallay. Don de Jules Gallay au Conservatoire de Paris, 18/12/1888. Mis en dépôt au Louvre le 06/07/1961 ...et réinventorié Inv.20145. Mis en dépôt à l'Opéra le 16 ou 17/12/1963
Cartouche : "MARAIS (MARIN) - 1656-1728 - (Don M.J. GALLAIS)"
Expositions : 1704 - Le salon - les Arts et le Roi, 22.03.2013 - 30.06.2013, Sceaux
Klein discusses Marin Marais' Pieces in Trio. No musician could rival Jean-Baptiste Lully's influence over Louis XIV in late seventeenth-century France. Lully was particularly involved in the ...composition and performance of theatrical works through his positions at the opera and at court, as well as in the formalization of an institutional structure which shaped the performance, publication and teaching of music. Marin Marais was significantly influenced by Lully, in particular in his training as a composer. He never supported the increasingly fashionable Italianate style and his compositions stayed true to the French style championed by Lully.
Présentation générale : D'après le tableau conservé au Musée de la musique (E.995.6.44). Description des éléments : Gravure, manière noire.
Date de création : 1704. Ancienne collection André Meyer
...Signé et daté en bas à gauche : "A. Bouys pinx.t et sculp.t 1704". Sous le portrait : "Marin Marais / ordinaire de la Musique de la Chambre du Roy". Au revers, tampon de la collection Meyer : "PROVENANT DE LA COLLECTION MUSICALE / d'André MEYER / DECEDE en Mai 1974 / F. MEYER Octobre 84"
