VISIONS DU DIABLE
Johanna Rose – viola da gamba
Javier Núñez – harpsichord
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Visions du Diable
It was not uncommon for 17th-century painters to depict music-making or musical instruments: a lute or viola da gamba resting in the artist’s studio, a warm, resonant presence beside the easel and rolled canvases, offering solace, focus, and the promise of inspiration. The music on this album, however, is far removed from the domestic scenes portrayed in such paintings. It places formidable demands on the performer and was written by two of the greatest viola da gamba virtuosi in musical history.
In this album, Johanna Rose continues her exploration of the repertory by two towering figures of the instrument: Marin Marais and Antoine Forqueray. As the contemporary writer Hubert Le Blanc famously observed, “Marais played like an angel, Forqueray like the devil.” Forqueray’s music was so technically demanding that, according to the Mercure de France in 1738, “only he and his son could play it.”
Antoine Forqueray (1672-1744) Pièces de Viole avec la Basse Continue. Suite en do mineur. La Rameau
Visions du Diable
Marin Marais (1656-1728)
Deuxième livre de pièces de viole
1. Prélude
2. Fantaisie
3. Allemande
4. Courante
5. Sarabande à l’Espagnol
6. Gigue
7. Tombeau pour M. de Sainte-Colombe
Antoine Forqueray (1672-1744)
Pièces de Viole avec la Basse
Continue Suite en do mineur
8. La Rameau
9. La Guignon
10. La Léon. Sarabande
11. La Boisson
12. La Montigni
13. La Sylva
14. Jupiter
Marin Marais
15.Les Voix Humaines (arranged for solo viol)