Marais -〈Alcione〉Marche pour les Matelots, Air et Tambourin pour les mêmes / Jordi Savall

Marin Marais (1656~1728)

《Alcyone》tragédie en musique, 1706

(Acte 3, Scène 3)

- Marche pour les Matelots -
- Air pour les mêmes -
- Air Tambourin pour les mêmes -


Le Concert des Nations
Jordi Savall (conductor)


Marin Marais (31 May 1656, Paris 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for 6 months. He was hired as a musician in 1676 to the royal court of Versailles. He did quite well as court musician, and in 1679 was appointed "ordinaire de la chambre du roy pour la viole", a title he kept until 1725.

He was a master of the basse de viol, and the leading French composer of music for the instrument. He wrote five books of Pièces de viole (1686-1725) for the instrument, generally suites with basso continuo. These were quite popular in the court, and for these he was remembered in later years as he who "founded and firmly established the empire of the viol" (Hubert Le Blanc, 1740). His other works include a book of Pièces en trio (1692) and four operas (1693-1709), Alcyone (1706) being noted for its tempest scene.

Titon du Tillet included Marais in Le Parnasse françois, making the following comments on two of his pieces:

A piece from his fourth book entitled The Labyrinth, which passes through various keys, strikes various dissonances and notes the uncertainty of a man caught in a labyrinth through serious and then quick passages; he comes out of it happily and finishes with a gracious and natural chaconne. But he surprised musical connoisseurs even more successfully with his pieces called La Gamme [The Scale], which is a piece de symphonie that imperceptibly ascends the steps of the octave; one then descends, thereby going through harmonious songs and melodious tones, the various sounds of music.

As with Sainte-Colombe, little of Marin Marais' personal life is known after he reached adulthood. Marin Marais married a Parisian, Catherine d'Amicourt, on September 21, 1676. They had 19 children together.

Facsimiles of all five books of Marais' Pièces de viole are published by Éditions J.M. Fuzeau. A complete critical edition of his instrumental works in seven volumes, edited by John Hsu, is published by Broude Brothers. Marais is credited with being one of the earliest composers of program music. His work The Gallbladder Operation, for viola da gamba and harpsichord, includes composer's annotations such as "The patient is bound with silken cords" and "He screameth."



- Alcyone (French Opera) -

Alcyone is an opera by the French composer Marin Marais. It takes the form of a tragédie en musique in a prologue and five acts. The libretto, by Antoine Houdar de la Motte, is based on the Greek myth of Ceyx and Alcyone as recounted by Ovid in his Metamorphoses. The opera was first performed at the Académie royale de musique, Paris on 18 February 1706. The score is particularly famous for the storm scene (tempête) in Act Four. The Marche pour les Matelots, also part of this movement, became popular as a dance tune and is the basis of the Christmas carol Masters in this Hall.

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[berscheida]

I feel like im on a pirate ship...just saying...."why is all the rum gone?"

[Reatbuster]

@DroitDivin je suis le diable

[mike13lowe]

Love this so much 

[bersa888]

@DroitDivin : I see... well, if purity and simplicity and directness of emotions is what you are looking for, then why don't go back to Palestrina? Also, if you are looking at the inspiration and direct influences on Lully's music, Late Renaissance-Early Baroque music from Italy is where you have to look, namely Monteverdi, Carissimi and Cavalli....

[bersa888]

@DroitDivin : Hello. Yes... but I was mostly pointing out to the fact that flourishes, embellishments, are an intrinsic and a sine-qua-non element of French Baroque music, more than Italian or German. For example, French Baroque keyboard music is the most overloaded by embellishments than any other European keyboard literature. Simplicity of phrase and harmonies is another matter altogether. Also, to keep in mind is what ALL baroque performers did during a live performance: freely improvise.

[DroitDivin]

@bersa888 ... avec la tradition de l'école italienne de Naples ou de Rome qui sont d'un baroquisme italien voulant mettre la mélodie au dessus de tout d'un mauvais gout épouvantable ! Mélangeant les genres comiques et dramatiques et oubliant la glorification au monarque ! Enfin comme vous le voyez très cher ami, il n'y a rien de bon dans la tradition italienne...

[DroitDivin]

@bersa888 Ce Lullisme qui fut imité partout en Europe (surtout en Allemagne et le style allemand est une extension de cette doctrine musicale), admiré par les plus Grands monarques et compositeurs (après M. de Lully) comme Telemann ou même Bach ! M. de Lully a totalement rompu (une fois sa doctrine musicale faite notamment en supprimant les parties comiques (bien que peu visibles) plus tard dans les immenses tragédies lyriques à partir de Bellérophon, le plus grand opéra du monde !)

[DroitDivin]

@bersa888 Très cher ami mélomane,

Je ne puis que m'étonner de cette réflexion ! Remettriez vous en cause la supériorité évidente par son classicisme et son accord parfait avec le véritable Beau, naturel, simple, harmonieux, du Lullysme contre toutes les sectes baroques et remplies de fioritures stupides des Italiens mais aussi celles des Ramistes et des Gluckistes (surtout ces derniers en musique dite française) qui ont dénaturé et corrompu la véritable musique française et lulliste ????

[bersa888]

@DroitDivin : I love Marais, but blaming the Italians for "baroque flourishes" (without which French baroque and music, art and literature wouldn't exist, since it's such an important part of French style) is a little too much, don't you think so? Also, given that Lully was Italian - although he opposed Italian influences in France - makes the whole nationality issue a bit irrelevant :-) All national schools influenced one another.

[DroitDivin]

Le superbe et triomphant Marin Marais avec cette immense tragédie lyrique Alcione qui fait entendre un parfait style lullyste bien maitrisé sans les horribles fioritures baroques italiennes !

Vive Marin Marais, lulliste accompli qui honore la plus belle des musiques c'est à dire la divine musique bien française !

Merci à vous frère protestant !