Barefoot Chamber Concerts ("an enterprise noted for both its quality and informality" - San Francisco Classical Voice) joins with MusicSources to present a very special event: the legendary Paolo Pandolfo ("the Yo-Yo Ma of the viola da gamba") with 3 of his closest collaborators playing a concert of music for Louis XIV, entitled "Paris 1689: A Revolution for the Sun King." The program is based on music by Marin Marais, and includes pieces by Francois Couperin and Robert de Visee.
Paolo Pandolfo writes: "It is as if the French Revolution started one century in advance: breaking all rules, musicians ascended all social layers thanks to their talent, not bound to their often humble origins. The young son of a shoe-maker could become "Ordinaire de la Chambre Du Roi, " as Marin Marais did at only 23 years of age, and a modest family of provincial musicians could provide two of the greatest names of the French musical firmament: Louis and Francois Couperin.
Published between 1686 and 1689, Marais' 1st book of "Pieces de Violes" sets a "before" and "after" in the French musical tradition, and influences all later publications for the viol. It combines the stunning virtuosity of the "Sujet Diversite" (half-way between the English tradition of "divisions on a ground" and Marais' later "Folies d'Espagne") and the fully mature French style of the two magnificent Suites for two viols. In those years Francois Couperin was a young ascending star, and Robert De Visee had already published two music books dedicated to his favorite student . . . the King. This "Fin de Siecle" establishes French excellence in Europe, and contains the seeds of its inevitable demise.
This is a rare opportunity to hear the greatest modern master of the favorite instrument of "The Sun King" (the viola da gamba), in an ensemble that matches his extraordinary talents. The suberb acoustic of the Church of St. Mary Magdalen in Berkeley provides the perfect setting for the music.
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Paolo Pandolfo writes: "It is as if the French Revolution started one century in advance: breaking all rules, musicians ascended all social layers thanks to their talent, not bound to their often humble origins. The young son of a shoe-maker could become "Ordinaire de la Chambre Du Roi, " as Marin Marais did at only 23 years of age, and a modest family of provincial musicians could provide two of the greatest names of the French musical firmament: Louis and Francois Couperin.
Published between 1686 and 1689, Marais' 1st book of "Pieces de Violes" sets a "before" and "after" in the French musical tradition, and influences all later publications for the viol. It combines the stunning virtuosity of the "Sujet Diversite" (half-way between the English tradition of "divisions on a ground" and Marais' later "Folies d'Espagne") and the fully mature French style of the two magnificent Suites for two viols. In those years Francois Couperin was a young ascending star, and Robert De Visee had already published two music books dedicated to his favorite student . . . the King. This "Fin de Siecle" establishes French excellence in Europe, and contains the seeds of its inevitable demise.
This is a rare opportunity to hear the greatest modern master of the favorite instrument of "The Sun King" (the viola da gamba), in an ensemble that matches his extraordinary talents. The suberb acoustic of the Church of St. Mary Magdalen in Berkeley provides the perfect setting for the music.
Barefoot Chamber Concerts ("an enterprise noted for both its quality and informality" - San Francisco Classical Voice) joins with MusicSources to present a very special event: the legendary Paolo Pandolfo ("the Yo-Yo Ma of the viola da gamba") with 3 of his closest collaborators playing a concert of music for Louis XIV, entitled "Paris 1689: A Revolution for the Sun King." The program is based on music by Marin Marais, and includes pieces by Francois Couperin and Robert de Visee.
Paolo Pandolfo writes: "It is as if the French Revolution started one century in advance: breaking all rules, musicians ascended all social layers thanks to their talent, not bound to their often humble origins. The young son of a shoe-maker could become "Ordinaire de la Chambre Du Roi, " as Marin Marais did at only 23 years of age, and a modest family of provincial musicians could provide two of the greatest names of the French musical firmament: Louis and Francois Couperin.
Published between 1686 and 1689, Marais' 1st book of "Pieces de Violes" sets a "before" and "after" in the French musical tradition, and influences all later publications for the viol. It combines the stunning virtuosity of the "Sujet Diversite" (half-way between the English tradition of "divisions on a ground" and Marais' later "Folies d'Espagne") and the fully mature French style of the two magnificent Suites for two viols. In those years Francois Couperin was a young ascending star, and Robert De Visee had already published two music books dedicated to his favorite student . . . the King. This "Fin de Siecle" establishes French excellence in Europe, and contains the seeds of its inevitable demise.
This is a rare opportunity to hear the greatest modern master of the favorite instrument of "The Sun King" (the viola da gamba), in an ensemble that matches his extraordinary talents. The suberb acoustic of the Church of St. Mary Magdalen in Berkeley provides the perfect setting for the music.
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Paolo Pandolfo writes: "It is as if the French Revolution started one century in advance: breaking all rules, musicians ascended all social layers thanks to their talent, not bound to their often humble origins. The young son of a shoe-maker could become "Ordinaire de la Chambre Du Roi, " as Marin Marais did at only 23 years of age, and a modest family of provincial musicians could provide two of the greatest names of the French musical firmament: Louis and Francois Couperin.
Published between 1686 and 1689, Marais' 1st book of "Pieces de Violes" sets a "before" and "after" in the French musical tradition, and influences all later publications for the viol. It combines the stunning virtuosity of the "Sujet Diversite" (half-way between the English tradition of "divisions on a ground" and Marais' later "Folies d'Espagne") and the fully mature French style of the two magnificent Suites for two viols. In those years Francois Couperin was a young ascending star, and Robert De Visee had already published two music books dedicated to his favorite student . . . the King. This "Fin de Siecle" establishes French excellence in Europe, and contains the seeds of its inevitable demise.
This is a rare opportunity to hear the greatest modern master of the favorite instrument of "The Sun King" (the viola da gamba), in an ensemble that matches his extraordinary talents. The suberb acoustic of the Church of St. Mary Magdalen in Berkeley provides the perfect setting for the music.
show less
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2005 Berryman Street, Berkeley, CA 94709
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