Colombe. Concerts à Deux Violes Esgales - Savall & Kuijken (1976) 
Concerts à Deux Violes Esgales
5 tracks - Mp3 320 - RAR 113 Mb - Covers + Booklet
Wieland Kuijken, basse de viole of 7 strings (anonymous, early eighteenth century)
Jordi Savall, basse de viole 7-string (anonymous, late XVII century)
Astrée 1976
For me the music of Marais and St. Colombe is closely associated with and old movie "Tous Les Matins du Monde." It's childish, but in the absence of pictures French author of the dark I guess the teacher of the Marais with the face of the film actor, JP Marielle, and I could not see another movie about you without risk of hurting my personal mythology. And see how others differ with me on this.
Thus, the vision of a filmmaker-Corneau, who works on the imagination of a writer-Quignard-elapsed on a story 400 years ago, and recently was taken to the eyewitness account that occurred 50 years after the journalists of the time I suggested a game of mirrors where the ambiguous and evocative sound of the strings becomes torn perfect soundtrack. I do not know whether Marais
The Rêveuse played at the foot of the bed of the daughter St. Colombe, nor do I know if it existed. There is not even certain of the identity of the St. Colombe, outside a handful of file data. Ultimately I do not care. I like all this vagueness, and it serves as a framework for a music that I can not ever want to leave.
Well, as we shall see, through the testimony of the novelist Pascal Quignard, that whole set of beads was unleashed as a result of this record, the first monograph devoted to Monsieur de Sainte Colombe to ten years after the discovery of his scores (1966 .)
"I delight in the evocation of Sainte Colombe in" Wurtenberg Hall, a novel which appeared in 1986. And in "The Music Lesson" in 1987. And "Every morning the world" novel I wrote in 1990. And in "Terrasse à Rome", a novel published at the beginning of 2000. There is yet another book about to appear, and blessed with him, talking about his age, his return to England. I do not know if I ever venture to entrust it to a publisher. The strangeness pervades the last line of the novel: "There was just sadness, hunger, anger, arrogance, hurt." So ends, so just explained, the story.
I know nothing yet of his death.
Nothing is known of his childhood. Adolescence.
Sainte Colombe I discovered after buying a black disc they had recorded Wieland Kuijken and Jordi Savall in 1976. It contained five of its "Concerts à deux Violes esgales" which included the "Tombeau Les Regrets", ten years after the discovery of the works of Sainte Colombe in Geneva in 1966.
Sainte Colombe's image for me was always steeped in the face of Jordan.
More lean maybe.
In my manuscript, I defined these words: "Bleak, humble, open, timid, elusive, untimely refined, shrewd, subtle, sudden, mysterious. "
always believed that Madame de Sainte Colombe was like as two drops of water appear at the Roman Palas Ravello. High, much higher than Sainte Colombe, beautiful breasts, placid, robust, secure, generous, round, comforting. There is no word in the four books I just mentioned, about his unique life before death that would have to carry.
In 1986, Karl Chenogne, the protagonist of "The Hall of Württemberg", viola and narrator writes: "From the other end of the speaker, a voice that crossed the Atlantic asked me recorded the complete works for viola de Sainte Colombe, who wrote a biography, to collect the imagery for a box, a great launch, a catalog for an exhibition, and to write down the key elements for a movie-romance ... Two U.S. foundations and a university in California would be at the cost of production. A renowned director would take over the film project. It seemed as if the whole universe suddenly discovered to Sainte Colombe ...".
It took five years for the content of the novel exceed the reality, or at least, that attracted his attention.
And there was in California, but in Paris.
remember my first encounter with Jordan in 1990. He had read my novel: such was his concentration that he saw Sainte Colombe. Referred to her as he would have Sainte Colombe. It was splendid, and nothing more anxious at that time, which come into contact with people in the world of cinema. Accompanied by Montse, I went to Port Royal Chams. Recorded late at night. It was cold. I slept stretched on a bench in the chapel.
I missed, then the shooting of the film.
A memory preserved only in 1991.
is of an old sheet music of the seventeenth century on which Jordi copied, by hand, Sainte Colombe's work entitled "Les pleura" in blue ink in clef. At the bottom of the score, Jordi wrote "To Pascal in memory of a dream ...". Sometimes, dreams transcend the night the houses. Sainte Colombe and the musician is as indisputable as the painter Georges de la Tour, who just came into existence in the late nineteenth century and that there would not be returned by Stendhal and Taine. The imaginary plant their seeds in reality and in her time and slowly time overlaps and the branches, they grow. Art is so strange. Survival is so strange. We started eating our mother in her own womb. Then, in their milk. In his eyes, he snatched the language. We are all thieves. In responding to the meaning we create smiles. The instruction is just sucking the bones of the dead, pierced, imbued with the death of our predecessors. Life is pasted as parasites to the works, the ruins of the works, the memory of the works. We live surrounded by hallucinations that barely conceal the lack or absence. Our existence is precarious and lack of sync. We started too soon. Die, without exception, before they matured.
The original is always invisible.
travel The real message behind the bodies those who exchanged. "
