In its ongoing effort to rescue worthwhile Baroque repertoire from undue obscurity, the Canadian ensemble Les Voix Humaines once again offers a program that will interest and delight all fans of the period. This time they perform two rarely recorded works by Marin Marais–two Suites scored for three viols from Marais’ fourth book of Pièces de Viol and an unusually full-bodied arrangement of Marais’ familiar Tombeau pour Monsieur de Lully from Book Two (a piece Marais originally scored for a single viola da gamba and basso continuo).
While Marais likely used the English consort as a model for Book Four’s unique Première and Deuxième Suites (nothing like them had been written in France before Marais published them in 1717), other than form they owe little to that tradition. These masterpieces are unmistakably French in character and could only have been fashioned by a master of Marais’ caliber and sensibility.
Viola da gambists Susie Napper and Margaret Little (who form the core of the ensemble), joined by legendary veteran of the instrument Wieland Kuijken, here serve the composer well, delivering impeccably stylish performances that take full advantage of Marais’ diverse, abundant palette of sonorities that lace his many richly chromatic passages. Favorite moments include the clever repetitive echoing displays throughout the Gavotte of the first Suite and the delicately-skewed pirouette motifs that propel the brief Paysanne gracieuse movement of the second.
The ensemble’s imaginative approach to Tombeau pour Monsieur is equally impressive. Following Jordi Savall’s lead in his second recording for Alia Vox (type Q7273 in Search Reviews), the additional viols work wonders, heightening the expressive and visceral power of the piece. To further enhance the somber mood of this deeply heartfelt tribute, at nearly nine minutes Les Voix Humaines’ performance must be among the slowest, if not the slowest ever recorded (Savall comfortably clocks in at 6:22). The result is absolutely overwhelming, and for all who revere this minor masterpiece, this performance must be heard.
Atma’s sound is first-rate, with excellent clarity and detail. There is some occasional audible heavy breathing, but nothing serious. All told, this is an outstanding addition to the Marais discography and very highly recommended.
