Marin Marais (1656-1728) - The 250th Commemoration

If the analogy can be made that the contributions of Marais to the literature and technique of the viol are in some way similar to Chopin's contributions to the piano, then this recording must reflect the interpretation of these works by the "Rubinsteins" and "Horowitzes" of the viol. Most of us are familiar with the reputation of August Wenzinger as a performer on the viol for more than fifty years, as a teacher at some of the world's most prestigious institutions, as a first-class scholar, and as director of many recordings for Deutsche Gramophon's Arkiv series. Appearing with Wenzinger on this recording is harpsichordist James Weaver, Director of Concerts in the Music Division of the Smithsonian; and Oberlin Baroque Ensemble members Marilyn McDonald (baroque violin), Robert Willoughby (baroque flute), James Caldwell (viola da gamba), Catharina Meints (viola da gamba), and Lisa Goode Crawford (harpsichord). The performers have all served as faculty members at the distinguished Baroque Performance Institute held at the Oberlin Conservatory each summer since 1972. The contents of the recording are the Pieces a trois violes in G major from Livre IV, Pieces a une et trois violes (1717); two Pieces de viole d'un gout Etranger (Livre IV), the Pieces en trio in E minor of 1692, and the Sonnerie de Ste. Genevieve du Mont de Paris (1723).

This reviewer can only think of superlatives to describe the playing of this music. There are several points which deserve special mention. The performance of the many ornaments seems completely effortless, allowing them to take on their true role as ornaments and not to sound forced or overly virtuosic or to obscure the melodic line. The performers' tasteful use of limited vibrato is likely to satisfy all but the most radical on either side of the vibrato controversy. The tempos are very convincing-neither too fast nor too slow. This is especially in evidence in the Sonnerie, which is here performed slightly faster than in other recordings, resulting in an entrancing, hypnotic performance of this ostinato piece which could, in less able hands, easily become boring. Catharina Meints extracts a very good bell effect from the bass viol in this piece. In the Pieces en trio in E minor, Wenzinger displays his mastery of the treble viol by producing an unusual richness of tone in the lower register of the instrument, and by frequently matching the tone quality of Willoughby's flute.

In addition to the fine performances, the disc itself is a wellmade product. The copy received for review is a flawless pressing, an item becoming increasingly rare these days. The balance is good, although perhaps a bit more volume would be welcome from the harpsichord. The tone quality is rich and satisfying, leading one to speculate that the recording engineers may have taken the time to grasp a basic concept of the ideal sound of the viols. This product of a small new company compares favorably with those of the major European and American recording companies.
John A Whisler in J Viola Gamba Soc 1979; XVI, 76-78 (from his review of the 1978 LP)