Salomé Gasselin, the violist on this recording, plays a bass viol made by Simon Bongars in Paris in 1653, one of the oldest French viols.
Performer Biography
Justin Taylor, the harpsichordist, won First Prize at the Bruges Harpsichord Competition in 2015, along with the Audience Prize and the Alpha Classics Prize, launching his career.
Composer's Artistic Vision
In 17th-century France, composers like Jacques Boyvin and Guillaume-Gabriel Nivers advised organists to imitate the human voice in their playing, a practice also embraced by viol players.
Historical Context
During Louis XIV's reign, private concerts in France featured great freedom in instrumentation, with the viol often finding its place within consorts, as exemplified by Sainte Colombe's concerts with his daughters.
Interpretation
The album's concept originated from the discovery of an 'Allemande for organ or harpsichord, and three viols, if you like' by Henry Dumont, suggesting a flexible approach to instrumentation in 17th-century French music.
Compositional Technique
The 'récits de tierce en taille' in French organ music, characterized by specific organ stops, share a textural similarity with the viol's voice, particularly its sensual and mellow qualities.
Performer Biography
Salomé Gasselin, the violist, won the Gianni Bergamo Music Award in 2020 and has studied with notable figures like Marianne Muller, Philippe Pierlot, and Vittorio Ghielmi.
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