Marin Marais: Pièces inédites pour flûte

On the Alpha Classics label comes another strong album from the Musiciens de Saint-Julien, featuring François Lazarevich on flute (and musette). At the center of this recital are works for flute and continuo that were recently discovered by Michael Lynn. Discovering stories like this are always endearing, especially when they involve familiar characters and places that were once close to home. (I spent my high school years in northern Ohio, in the same county as Oberlin College.)

The album isn’t all flute: it includes music for the other musicians: Éric Bellocq performs on guitar and lute; Lucile Boulanger on gamba. Two of the pieces, performed, from Marais’ third and fourth book (tracks 23-24) are arrangements; the first, imitating the guitar, is performed on (you guessed it) guitar! The Caprice ou sonate from book four, features the flute with the melodic material. They also give Boulanger the spotlight performing Les voix humaines, one of Marais’ more famous solo pieces from his second book.

The guitar piece is a standout. It's really well played with (I think) appropriate emotional injection from Bellocq.

This recording reveals to us exposure to how the flute was accepted into French style around the turn of the 18th century.

Suite in G minor

This five-movement work (Sarabande, Gavotte, Menuets, Musette, and Gigue) is constructed of dance forms that may be unusual in their ordering, at least to those used to how Bach would have presented these in his keyboard works. The opening Sarabande is the most substantial of the pieces; the faster dances come quickly behind. The continuo support is well-done, I think, refreshing to a degree, for those used to the pairing of flute with harpsichord. All the instruments are quite portable, and I couldn’t help but think of going to bed (were I to be the king!) with the fourth movement’s musette. I can also imagine the melody of this dance to be expressively played on the gamba. For me, Marais’ language for viol comes across extremely well for a very different kind of instrument. Throughout this suite Lazarevich keeps to a dark tone with his period flute. The texture turns almost velvet in places, which I found was delightful, especially in the very dance-able concluding gigue.

Suite in E minor

This is a longer suite, starting with a Symphonie and followed by dances that are not unfamiliar: menuet, gigue, courante, etc. Like the G minor suite, this one feels intimate and personal. Which isn’t new if we consider Marais’ books of viol music, it has always for me seemed personal. To be fully enjoyed, you want to be up close and personal. I can’t say with any authority if this is actually how the music was programmed in early 18th century society; it very well could have served as a backdrop to a number of functions.

The Courante, Passepied and Roundeau were among my favorite movements. Lazarevich’s dark tone is well-matched with foundational support from Boulanger bowing and Bellocq on lute. I auditioned this recording on my bookshelf setup which benefits from a little added bass support with the speakers close to my office’s back wall, which showcased the recording’s fine balance, offering great transparency around the efforts of all three musicians.

Suite in G major

This is the longest of the works on this recording, eight movements in all, opening with a Prélude. Lazarevich’s command of a rhetorical approach in the opening movement was well-done, I thought, which changes profoundly by the third movement’s more frivolous character via a gavotte en rondeau.

Marais’ famous piece, the titular highlight in this album’s name, is presented within this suite. The flute version passes by more quickly, which is a requirement for breathing. All the ornamentation in the flute line is not just decoration, but conveys the style of the time. The omission of the gamba in this movement seems appropriate, giving the limelight to the flute.

I enjoyed the lute’s contribution in this suite’s Sarabande. I can’t say how this bass line was presented, and what’s written versus improvised. The flute’s role here again seems somewhat focused on imitating the voice (still), and Lazarevich I think does a good job in varying his breath control to good effect on the longer notes.

The gigue seems to require some strong playing from the flute player. While the transverse flute may have been a new invention, there’s an implied expertise required from the performer. Without a doubt, these musicians are well-equipped to take Marais’ compositional challenges.

Suite in C major

This short four-movement work features another instrument in the lead spot: the musette. Of any instrument from the period, it’s chock full of flavor. Some might think this music is an acquired taste. The drone notes of the small bagpipe has a buzzy sound to it, not too different from a reed stop in an organ.

It’s amazing how the change in timbre can change our perceptions. The four pieces are fun, and the last, entitled La Sautillante is a delicious number. As everything else on this album, it’s expertly executed by Lazarevich and friends.

Final Thoughts

This album is generous in length, diverse in scope, and calls to the forefront some pieces you haven’t heard before! The promotional text on Alpha’s website reports that the musicians took a full year to become comfortable with this music. It shows in its presentation here.

The performances themselves I can’t imagine being better done. The contributions of all involved are equally high. If you’d like to imagine yourself in the period environs of the Chateau de Versailles, this album may well take you there. Imagine you score a seat on one of the King Louis’ silver chairs as you hear his musicians attempt to move your senses from across the room.

Now let’s hope we’re treated to even more fresh discoveries. Thanks have to go to the auctioneer who clued Mr. Lynn in on a chance discovery.