Monsieur de Sainte-Colombe (ca.1640-1700) Concerts a deux violes

00:00 - Le Sériuex Changeant
04:50 - La Pierrotine

Susie Napper, Margaret Little
Les voix humaines



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Monsieur de Sainte-Colombe (ca. 1640 -- 1700) was a French composer and violist.

It is speculated by various scholars that Monsieur de Sainte-Colombe was of Lyonnais or Burgundian petty nobility; and also the selfsame 'Jean de Sainte-Colombe' noted as the father of 'Monsieur de Saint Colombe le fils'.[1] This assumption was erroneous, according to subsequent research by Jonathan Dunford in Paris. Dunford suggests he was probably from the Pau area in southernmost France and a Protestant; his first name was "Jean". His two daughters were named Brigide and Françoise.[2]

Sainte-Colombe was a celebrated master of the viola da gamba; it is said that he added the seventh string (AA) on the bass viol.

A recluse, he is claimed to have performed publicly only occasionally at his home, in consort with his two daughters, whom he had trained. Aside from them, Sainte-Colombe's students included the Sieur de Danoville, Jean Desfontaines, Pierre Méliton, Jean Rousseau and notably Marin Marais, who wrote Tombeau pour Monsieur de Sainte-Colombe, in 1701, as a memorial to his instructor.

Amongst the extant works of Sainte-Colombe are sixty-seven Concerts à deux violes esgales, and over 170 pieces for solo seven-string viol, making him perhaps the most prolific French viol composer before Marin Marais.

In 1991, Pascal Quignard published a novel giving a conjectural picture of the relationship between M. de Sainte-Colombe and Marin Marais, entitled Tous les matins du monde (All the World's Mornings). Alain Corneau directed a film based on it, with Jean-Pierre Marielle as Sainte-Colombe, Guillaume Depardieu as the young and Gérard Depardieu as the aged Marin Marais. The soundtrack of the film was realized by Jordi Savall.

A quotation from a composition of Monsieur de Sainte-Colombe is used in Carlo Forlivesi's Requiem (1999).

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[MisterAceblack]

Le sériuex changeant ? Ne serait-ce pas plutôt Le sérieux changeant ?