Reviews and critiques Violes Esgales\u27 record of Baroque music for two violes de gambe

Otterstedt, Annette

Keck Graduate Institute

Performance Practice Review
Volume 9
Number 2 Fall Article 9
Violes Esgales--Sainte Colombe, Marais, Couperin,
Les Voix Humaines. Duo de Violes de Gambe
Annette Otterstedt
Follow this and additional works at: http://scholarship.claremont.edu/ppr
Part of the Music Practice Commons
This Recording Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for
inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact
scholarship@cuc.claremont.edu.
Otterstedt, Annette (1996) "Violes Esgales--Sainte Colombe, Marais, Couperin, Les Voix Humaines. Duo de Violes de Gambe,"
Performance Practice Review: Vol. 9: No. 2, Article 9. DOI: 10.5642/perfpr.199609.02.09
Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/9
Record Review
Violes Esgales—Sainte Colombe, Marais, Couperin. Les Voix Hu-
maines, Duo de Violes de Gambe, Susie Napper et Margaret Little.
CBC Records MVCD 1082.
In the foreword to his L'Art de Toucher le Dessus et la Basse de
Violle (1687) Danoville, a colleague of Marin Marais and student of
Sainte Colombe,1 emphasizes Sainte Colombo's variety of bowing
styles and moods:
Cette maniere de tirer une har- This manner of producing a
monie tantost tendre, tantost sonority at one time tender,
brillante, qut surprend agrea- at another time brilliant, which
blement l'oreille.. . surprises the ear agreeably . . .
Such variety, however, is lamentably absent from the present record-
ing, and I have looked in vain for that characteristic "sweetness" so
often attributed to the viol during the 17th and ISth centuries.
Everything, to the contrary, is unremittingly loud. It is a pity that the
20th century has seen, and is still seeing, so much emphasis upon a
powerful sound, which is not among the prime distinctions of the
instrument, when pride should be taken instead in an alluringly
expressive piano and in a brilliantly weightless bowing.
The fixed-frog bows used by Marais—as is revealed by iconogra-
phical sources—were of quite extraordinary length (about 80-90
cm.). This kind of bow is reflected in Sainte Colombe's style of
composing. Long bows behave differently from short ones, as do
fixed-frog bows and those with movable frogs. Furthermore, such
bows were strung with no more than 50-60 horse hairs (cf. Loulie),
which is roughly half of what anyone would dare nowadays. Early
bows are often very thin near the tip, which has a direct influence on
the development of the tone and its end. They make it virtually
impossible to press down the bow energetically; their great length,
indeed, gives them both more flexibility and softness. More than
' There is certainly no conclusive evidence for the name Augustin
Dautrecourt.
206 Annette Otterstedt
others at the time, French viol players were celebrated for their
differentiated bowing and for their use of quasi-plucked notes that
faded away as on a lute.
Concerning the recording, however, energetic bowing is a ubiquitous
occurrence. Information about the bows employed is regrettably
wanting, but the apparent use of non-17th-century bows and the ex-
cessive pressure used on them, especially towards the bow's end,
preclude any of the "fading away" effect so important in the original
playing technique. Notes perdues, set apart in the 17th century by
their manner of notation, also imply a lighter execution, and other
"small-print" ornaments (e.g. coulement, accent, port de voix),
which relied on the viol's ability to ring on, are either given so much
weight that they are no different from the main notes, or they
disappear entirely (no. 16)—this might be a clue for the use of too-
heavy strings.
The original bowing indications have been supplanted by modern
mannerisms. To make this clear I should like to go a little back into
history. The beginning of a note was the concern of musicians and
musical writers since the 16th century (e.g. articulation syllables of
wind instruments, right hand technique on the lute, etc.). Apparently
people were content with the development of a note in its "natural"
way (sustained as on the organ etc., or dying away as in harpsi-
chords, lutes, and viols). But now the end of the note also came into
focus. The French violists were probably not the first ones to think
about this, but they were the first to analyze it and write it down.
And they were looking for a special sign to express it. In his second
volume Marais invented the sign "e" (enfler) to indicate an increase
until the end. He is very careful about its placement: sometimes he
sets it above the note, but very often on the following dot. If, how-
ever, the players stop the sound on the dot, where is the enfler? As
Marais uses this sign very often indeed, it is one of the main
characteristics of his music. To leave out its occurrences is like
playing Bach's "48" without flats and sharps.
Can it be right, as on the recording, to combine a six- and a seven-
string viol and declare them to be "violes esgales,"2 regardless of a
2 The Norman is an old instrument with 6 strings. The Colichon is a modern
copy with 7 strings, the difference is twofold: instruments with different numbers of
strings on one side, and old versus new on the other. Are these "violes esgales,"
considering that the sounds are totally different and don't blend well?
Viol Music of Sainte Colombe, Marais, Couperin 207
sound balance which is noticeably impaired? The choice of French
pitch (398 Hz) is courageous and one of the few positive points of
the record. Alas, this good aspect is spoilt by the heavy stringing
and lack of transparence. Frequently in Couperin (nos. 14-21) the
instruments lack clarity and certain notes are indiscernible, even
with earphones. This and the absence of "ringing-on," is again due
to the heavy stringing of the viols or to bowing too far from the
bridge, which are often interdependent. Bowing three fingers' width
from the bridge, as is recommended by Loulie, Marais, and Forque-
ray (lefils), calls for light strings and a low bridge position, familiar
from French iconography. Most notably, the bass strings sound as if
the wire overspinning is massive, because the difference in quality
between the open strings and any fingered note higher up is as con-
siderable as might be expected from a bad ratio of length to string
mass. Moreover, the method of separating the notes in breaking
chords is a tell-tale upshot of a bridge rounder than usual in the 17th
and 18th centuries.
It is the essence of agrements that their execution should be swift.
In the recording, however, they seem a little too "thoughtful," dis-
claiming their origins in lute technique. There are several instances,
in fact, where individual agrements are left out, so that I suspect that
an edited new edition was used instead of a facsimile. For the trem-
blement avec appuy (a shake with a long appoggiatura from above),
the shake is supposed to begin after the beat, not on it (as in the
recording). Many of Sainte Colombe's shakes are written out pro-
portionally. On the recording they are played metrically reduced,
speeding up gradually, which creates the impression of an overly-
cautious avoidance of any risk. Sainte Colombe, to the contrary,
seems to have loved totally un-French "descents to hell," rather risk-
ing such a fall to miscarry picturesquely now and then than standing
back quite so safely from the precipice.
Most movements of the period, although no longer intended to be
danced to, are derived from dance movements, whose distinctive af-
fects have to be recognized and expressed. These changes of affect
must be audible not merely as a change of time signature, but of tem-
po, articulation, and dynamics. Arbitrary rhythmics or uniform tem-
pi—as on this recording—dissemble these affects, making them dif-
ficult to perceive for the listeners.
The tempi are very moderate throughout. This could be an advan-
tage in view of today's customary hastiness, provided the notes are
208 Annette Otterstedt
not left shapeless, and a genuine distinction is made between slow
and fast. The metric sign C, particularly as used by Sainte Colombe,
demands a great deal of imagination and bow control, and metrically
unstructured notes are as inconceivable for the period as unstructur-
ed surfaces. The subdivision of a stroke of the bow into its begin-
ning, middle, and end (see e.g. Loulie) is to be taken quite literally.
But here, specifically long notes which call for the greatest tension
(e.g. during slow sections by Sainte Colombe, or in Marais's Tom-
beau de Mr Meliton), which ought to be every viol-player's favorite
challenge, are left rather flat and insipid. On the other hand, the
fastest tempi, instead of acquiring airiness, display a heavy footfall
with too many stresses, and they seem as a result to be violent rather
than sprightly. The coarsely played Badinage (no. 19) fails singu-
larly to charm me for its lack of light banter. In French music, as in
jazz, inegaliti is the rule. It should flow naturally from the playing
technique and not sound like an afterthought. Such a naturalness,
however, is not at all evident in those movements played inegales in
the recording. Further, the recording is pervaded by a tendency to
slow down and pause at cadences and caesuras. French music is
short-winded anyway (due to its short [dance]-passages). The
regular slowing down makes it even more asthmatic.
In the leaflet accompanying the CD, Pascal Quignard is quoted from
Tous les matins du monde (the film of 1991) as follows:
. . . Thus it was that [Sainte Colombe and Marais] played Les
Pleurs. As the song of the two viols rose in the air, they looked
at one another. They were weeping .. . While their tears rolled
slowly down their noses, their cheeks, their lips, they kept smil-
ing at one another at the same time.
Les Pleurs, Tombeau, and Le Retour by Sainte Colombe are para-
digmatic cases of the expression of affects. Moreover, quarrillon
(metric sign 2) means "carillon"—in this case the traditional four-
bell pattern—not some kind of "pompe funebre," as the recording
might suggest. Such affects, however, are nowhere made as manifest
as they should be in the present recording.
As for "their tears rolled slowly down" I very much doubt that it was
the intention of the composer to move the players as well. The
moment the player is "moved" during his playing he gets drowned.
The truly musical attitude—and this is what makes performing so
Viol Music of Sainte Colombe, Marais, Couperin 209
difficult—is to know of the emotions and handle them with a cool
and detached spirit.


English

Violes Esgales--Sainte Colombe, Marais, Couperin, Les Voix Humaines. Duo de Violes de Gambe

Scholarship@Claremont

Performance Practice ReviewVolume 9Number 2 Fall Article 9Violes Esgales--Sainte Colombe, Marais, Couperin,Les Voix Humaines. Duo de Violes de GambeAnnette OtterstedtFollow this and additional works at: http://scholarship.claremont.edu/pprPart of the Music Practice CommonsThis Recording Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted forinclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contactscholarship@cuc.claremont.edu.Otterstedt, Annette (1996) "Violes Esgales--Sainte Colombe, Marais, Couperin, Les Voix Humaines. Duo de Violes de Gambe,"Performance Practice Review: Vol. 9: No. 2, Article 9. DOI: 10.5642/perfpr.199609.02.09Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/9Record ReviewVioles Esgales—Sainte Colombe, Marais, Couperin. Les Voix Hu-maines, Duo de Violes de Gambe, Susie Napper et Margaret Little.CBC Records MVCD 1082.In the foreword to his L'Art de Toucher le Dessus et la Basse deViolle (1687) Danoville, a colleague of Marin Marais and student ofSainte Colombe,1 emphasizes Sainte Colombo's variety of bowingstyles and moods:Cette maniere de tirer une har- This manner of producing amonie tantost tendre, tantost sonority at one time tender,brillante, qut surprend agrea- at another time brilliant, whichblement l'oreille.. . surprises the ear agreeably . . .Such variety, however, is lamentably absent from the present record-ing, and I have looked in vain for that characteristic "sweetness" sooften attributed to the viol during the 17th and ISth centuries.Everything, to the contrary, is unremittingly loud. It is a pity that the20th century has seen, and is still seeing, so much emphasis upon apowerful sound, which is not among the prime distinctions of theinstrument, when pride should be taken instead in an alluringlyexpressive piano and in a brilliantly weightless bowing.The fixed-frog bows used by Marais—as is revealed by iconogra-phical sources—were of quite extraordinary length (about 80-90cm.). This kind of bow is reflected in Sainte Colombe's style ofcomposing. Long bows behave differently from short ones, as dofixed-frog bows and those with movable frogs. Furthermore, suchbows were strung with no more than 50-60 horse hairs (cf. Loulie),which is roughly half of what anyone would dare nowadays. Earlybows are often very thin near the tip, which has a direct influence onthe development of the tone and its end. They make it virtuallyimpossible to press down the bow energetically; their great length,indeed, gives them both more flexibility and softness. More than' There is certainly no conclusive evidence for the name AugustinDautrecourt.206 Annette Otterstedtothers at the time, French viol players were celebrated for theirdifferentiated bowing and for their use of quasi-plucked notes thatfaded away as on a lute.Concerning the recording, however, energetic bowing is a ubiquitousoccurrence. Information about the bows employed is regrettablywanting, but the apparent use of non-17th-century bows and the ex-cessive pressure used on them, especially towards the bow's end,preclude any of the "fading away" effect so important in the originalplaying technique. Notes perdues, set apart in the 17th century bytheir manner of notation, also imply a lighter execution, and other"small-print" ornaments (e.g. coulement, accent, port de voix),which relied on the viol's ability to ring on, are either given so muchweight that they are no different from the main notes, or theydisappear entirely (no. 16)—this might be a clue for the use of too-heavy strings.The original bowing indications have been supplanted by modernmannerisms. To make this clear I should like to go a little back intohistory. The beginning of a note was the concern of musicians andmusical writers since the 16th century (e.g. articulation syllables ofwind instruments, right hand technique on the lute, etc.). Apparentlypeople were content with the development of a note in its "natural"way (sustained as on the organ etc., or dying away as in harpsi-chords, lutes, and viols). But now the end of the note also came intofocus. The French violists were probably not the first ones to thinkabout this, but they were the first to analyze it and write it down.And they were looking for a special sign to express it. In his secondvolume Marais invented the sign "e" (enfler) to indicate an increaseuntil the end. He is very careful about its placement: sometimes hesets it above the note, but very often on the following dot. If, how-ever, the players stop the sound on the dot, where is the enfler? AsMarais uses this sign very often indeed, it is one of the maincharacteristics of his music. To leave out its occurrences is likeplaying Bach's "48" without flats and sharps.Can it be right, as on the recording, to combine a six- and a seven-string viol and declare them to be "violes esgales,"2 regardless of a2 The Norman is an old instrument with 6 strings. The Colichon is a moderncopy with 7 strings, the difference is twofold: instruments with different numbers ofstrings on one side, and old versus new on the other. Are these "violes esgales,"considering that the sounds are totally different and don't blend well?Viol Music of Sainte Colombe, Marais, Couperin 207sound balance which is noticeably impaired? The choice of Frenchpitch (398 Hz) is courageous and one of the few positive points ofthe record. Alas, this good aspect is spoilt by the heavy stringingand lack of transparence. Frequently in Couperin (nos. 14-21) theinstruments lack clarity and certain notes are indiscernible, evenwith earphones. This and the absence of "ringing-on," is again dueto the heavy stringing of the viols or to bowing too far from thebridge, which are often interdependent. Bowing three fingers' widthfrom the bridge, as is recommended by Loulie, Marais, and Forque-ray (lefils), calls for light strings and a low bridge position, familiarfrom French iconography. Most notably, the bass strings sound as ifthe wire overspinning is massive, because the difference in qualitybetween the open strings and any fingered note higher up is as con-siderable as might be expected from a bad ratio of length to stringmass. Moreover, the method of separating the notes in breakingchords is a tell-tale upshot of a bridge rounder than usual in the 17thand 18th centuries.It is the essence of agrements that their execution should be swift.In the recording, however, they seem a little too "thoughtful," dis-claiming their origins in lute technique. There are several instances,in fact, where individual agrements are left out, so that I suspect thatan edited new edition was used instead of a facsimile. For the trem-blement avec appuy (a shake with a long appoggiatura from above),the shake is supposed to begin after the beat, not on it (as in therecording). Many of Sainte Colombe's shakes are written out pro-portionally. On the recording they are played metrically reduced,speeding up gradually, which creates the impression of an overly-cautious avoidance of any risk. Sainte Colombe, to the contrary,seems to have loved totally un-French "descents to hell," rather risk-ing such a fall to miscarry picturesquely now and then than standingback quite so safely from the precipice.Most movements of the period, although no longer intended to bedanced to, are derived from dance movements, whose distinctive af-fects have to be recognized and expressed. These changes of affectmust be audible not merely as a change of time signature, but of tem-po, articulation, and dynamics. Arbitrary rhythmics or uniform tem-pi—as on this recording—dissemble these affects, making them dif-ficult to perceive for the listeners.The tempi are very moderate throughout. This could be an advan-tage in view of today's customary hastiness, provided the notes are208 Annette Otterstedtnot left shapeless, and a genuine distinction is made between slowand fast. The metric sign C, particularly as used by Sainte Colombe,demands a great deal of imagination and bow control, and metricallyunstructured notes are as inconceivable for the period as unstructur-ed surfaces. The subdivision of a stroke of the bow into its begin-ning, middle, and end (see e.g. Loulie) is to be taken quite literally.But here, specifically long notes which call for the greatest tension(e.g. during slow sections by Sainte Colombe, or in Marais's Tom-beau de Mr Meliton), which ought to be every viol-player's favoritechallenge, are left rather flat and insipid. On the other hand, thefastest tempi, instead of acquiring airiness, display a heavy footfallwith too many stresses, and they seem as a result to be violent ratherthan sprightly. The coarsely played Badinage (no. 19) fails singu-larly to charm me for its lack of light banter. In French music, as injazz, inegaliti is the rule. It should flow naturally from the playingtechnique and not sound like an afterthought. Such a naturalness,however, is not at all evident in those movements played inegales inthe recording. Further, the recording is pervaded by a tendency toslow down and pause at cadences and caesuras. French music isshort-winded anyway (due to its short [dance]-passages). Theregular slowing down makes it even more asthmatic.In the leaflet accompanying the CD, Pascal Quignard is quoted fromTous les matins du monde (the film of 1991) as follows:. . . Thus it was that [Sainte Colombe and Marais] played LesPleurs. As the song of the two viols rose in the air, they lookedat one another. They were weeping .. . While their tears rolledslowly down their noses, their cheeks, their lips, they kept smil-ing at one another at the same time.Les Pleurs, Tombeau, and Le Retour by Sainte Colombe are para-digmatic cases of the expression of affects. Moreover, quarrillon(metric sign 2) means "carillon"—in this case the traditional four-bell pattern—not some kind of "pompe funebre," as the recordingmight suggest. Such affects, however, are nowhere made as manifestas they should be in the present recording.As for "their tears rolled slowly down" I very much doubt that it wasthe intention of the composer to move the players as well. Themoment the player is "moved" during his playing he gets drowned.The truly musical attitude—and this is what makes performing soViol Music of Sainte Colombe, Marais, Couperin 209difficult—is to know of the emotions and handle them with a cooland detached spirit.

http://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1183&context=ppr

Violes Esgales--Sainte Colombe, Marais, Couperin, Les Voix Humaines. Duo de Violes de Gambe

Abstract

Similar works

Full text

Available Versions

Keck Graduate Institute

Scholarship@Claremont