Marin Marais, composer, biography, discography
Early music and baroque music festivals: United States, United Kingdom, France, Spain, Germany, Italy Labels de la musique ancienne et la musique baroque : France, Etats Unis, Royaume Uni, Espagne, Allemagne, Italie Early music and baroque music courses: United States, United Kingdom, France, Spain, Germany, Italy Early music and baroque music competitions: United States, United Kingdom, France, Spain, Germany, Italy Early music and baroque music luthiers: United States, United Kingdom, France, Spain, Germany, Italy Early music and baroque music books and sheet music: United States, United Kingdom, France, Spain, Germany, Italy Early music and baroque music associations: United States, United Kingdom, France, Spain, Germany, Italy Early music and baroque music newsletters: United States, United Kingdom, France, Spain, Germany, Italy
español | français
Early music magazine, baroque music Early music and baroque music concerts schedule: United States, United Kingdom, France, Spain, Germany, Italy Early music and baroque music news : United States, United Kingdom, France, Spain, Germany, Italy CDs and discography, early music, baroque music: Bach, Handel, Vivaldi, Scarlatti, Rameau, ... Early music and baroque music month cds: United States, United Kingdom, France, Spain, Germany, Italy
COMPOSERS
Marin Marais
Domenico Zipoli: The double life of Domenico Zipoli
INTERVIEWS
10 CDs for a desert island : Vincent Dumestre
Alan Curtis
Akademie für Alte Musik Berlin
Víctor Torres
ESSAYS
The saddest song
The English ‘Classical’ Organ
  53 - 52 - 51 - 50 - 49 - 48 - 47 - 46 - 45 - 44 - 43 - 42 - 41 - 40 - 39 - 38 - 37 - 36 - 35 - 34 - 33 - 32 - 31 - 30 - 29 - 28 - 27 - 26 - 25 - 24 - 23 - 22 - 21 - 20 - 19 - 18 - 17 - 16 - 15 - 14 - 13 - 12 - 11 - 10 - 09 - 08 - 07 - 06 - 05 - 04 - 03 - 02 - 01 -
COMPOSERS
Marais, Marin
COMPOSERS
MARIN MARAIS
In his 1732 publication Vies des musiciens et autres Jouers d’Instruments du regne du Louis le Grand, Evrard du Titon du Tillet writes, “Sainte-Colombe was of course Marais’ teacher, but when he realized after six months that his pupil could surpass him, he told him that he had nothing more to show him. Marais loved the viol passionately, so despite this final edict of Sainte-Colombe, he resolved to learn more from his master and to perfect his skill on his instrument. Since he had some entry into the house, Marais took the time in summer to steal into Sainte-Colombe’s garden where his master habitually shut himself up in a little wooden cabinet he had built between the branches of a mulberry tree. There Sainte-Colombe could play the viol without distraction and more beautifully. Marais slipped under the cabin where he could hear Sainte-Colombe and profit from his approach to certain passages and bow strokes that masters of the art like to keep to themselves; but this didn’t last very long, Sainte Colombe realized what was going on and took necessary measures to not be heard by his student: however, he (Sainte-Colombe) was always amazed by the incredible progress that he (Marais) had made on the viol. One day hearing Marais play the viol, being asked by someone, a person of distinction, what he thought of his manner of playing, he responded that there were students who could surpass their Masters, but the young Marais would never find anybody who would surpass him”.

What immediately sets Marais apart from his immediate viol-playing contemporaries is his symmetry, beautiful sense of phrasing and harmony. While one can find many wonderful pieces in Hotman, Dubuisson or even Sainte-Colombe’s works, often there is an occasional piece where “the muse is missing”. In over 600 pieces for the viol, not one down to the simplest Menuet, is not near-perfect.



Manuscripts brought to light

Notably Remarkable are of note several manuscripts by Marais from this early period that have recently been brought to light. Some time during the 1670s, while still studying with Sainte Colombe, Marais met another of his students, the Scottish nobleman Harie Maule. To Maule he presented 150 manuscript pieces. Maule took these pages home with him when he returned to Edinburgh. Records indicate their presence in Scotland before 1685, or in other words before Marais’ first Book was published. The 150 pieces are anything but simple sketches. About two-thirds of them appeared later in Marais’ first three Books, published successively in 1686, 1701, and 1711. Somehow however, about forty-five of them, as well as an original version of the celebrated Folies d’Espagne never came to light. To bring this music finally out of its slumber, I have recorded all of the “unedited” manuscripts for Accord-Universal (two volumes). These pieces often feature “diabolical bow strokes”, that is rapid “furies” of separate bowing where the coordination of the bow and the fingering hand become the feat of a virtuoso. Not surprisingly we find the same kind of passages in Sainte-Colombe’s own music, especially his pieces for solo viol from the Tournus Manuscript.

1676 was a banner year for Marais. In September at the age of 20, he was married to Catherine Damicourt, a Parisian from the Saint Etienne du Mont neighborhood. It is interesting to speculate that during their courtship Marais may have heard the bells of a church on the local hill at Saint Genevieve du Mont and been inspired years later to compose his Sonnerie de Saint Geneviève du Mont. These years also marked his engagement as a musician for Lully’s opera Atys. It is possible that Marais’ entry into the circles of court musicians may have come through an acquaintance from his Saint Germain l’Auxerrois days, a composer named Jean Francois Lallouette who had become batteur de mesure, or conductor, of the king’s orchestra. Being in the sphere of Lully, the most influential musician in Europe at that time, was a great opportunity for the young musician.

Only three years later, on the death of the court viol player Gabriel Cagnet, the twenty three year old Marais received the title of Bass Viol Player for the Royal Chamber Music. Even his illustrious elders, Sainte Colombe and Dubuisson had never been honored with one of these rarely available appointments. A court position immediately offered financial security for the young Marais family.

Marin Marais
Biography
Work catalogue
Discography
Goldberg Articles
Marin Marais: Start Marin Marais: Previous Marin Marais: Next
Early music and baroque music notice board: United States, United Kingdom, France, Spain, Germany, Italy Ensembles, soloists, conductors, early music, baroque music:  United States, United Kingdom, France, Spain, Germany, Italy Early-Music Composers
ABOUT US | CONTRIBUTE   web map - home page - cover
Top
Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com