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Marin Marais: Pieces de Violes - Les Folies; Le Labryinthe

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Audio CD, December 21, 1993
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1. Ste in G: Prld
2. Ste in G: Caprice
3. Ste in G: Allemande La Magnifique - Double
4. Ste in G: Courante
5. Ste in G: Sarabande Grave
6. Ste in G: Gigue A L'angloise
7. Le Labyrinthe
8. Tomeau Pour M. De Lully
9. Couplets De Folies

Product Details

  • Performer: Mitzi Meyerson, Sarah Cunningham, Ariane Maurette
  • Composer: Marin Marais
  • Audio CD (December 21, 1993)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Asv Living Era / Gaudeamus
  • ASIN: B0000030NV
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #961,309 in Music (See Top 100 in Music)

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3 of 4 people found the following review helpful By Leslie Richford on December 18, 2008
Marin Marais (1656 - 1728): Pièces de violes: Suite in G from Book III; Le Labyrinthe from Book IV; Tombeau pour M. Lully and Couplet de Folies (both from Book II). Sarah Cunningham, viola da gamba; Mitzi Meyerson, harpsichord; Ariane Maurette, second viola da gamba. Bass viols by Jacobus Henricus Goldt, Hamburg 1741, and David Rubio, Cambridge 1986. Recorded at Lamport Hall, Northamptonshire, England in 1987. Published in 1989 as ASV CD GAU 112. Total playing time: 49'25".

Sarah Cunningham's solo debut on ASV is certainly a good listen and provides a good beginner's introduction to the viol works of the legendary Marin Marais, with Sarah Cunningham's helpful notes assisting the listener to hear some of the beauties of these works. Her interpretation appears, however, to be somewhat laid-back and does not strike me as being either as personal or as "passionate" (to quote the title of one of her later recitals) as it ought perhaps to have turned out. Possibly, this is the fault of the recording engineer(s), whose typically eighties' sound is a little distant, does not really differentiate enough spatially between the players and tends to push the accompaniments forward to the disadvantage of the soloist. Sarah Cunningham's choice of pieces is by no means intended to widen the Marais repertoire; instead, she aims at new listeners and plays some of Marais's best-known and well-loved works with the intention of making them "classics". The program is therefore a double-edged sword: on the one hand, it offers fascinating music with which it is easy to identify, on the other hand it invites comparison with similar recordings.
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