ムッシュ・ド・サント=コロンブと息子たち

ヴィオラ・ダ・ガンバの滋味あふれる響きを満喫できる
リチェルカール・コンソート最新盤

日本でもおなじみのリチェルカール・コンソートの最新盤。リーダーのフィリップ・ピエルロ以外は曲に応じてメンバーと編成を変えますが、一貫したスタイルと音楽性の深さでリリースするディスクすべてが高い評価を受けています。

今回はサント=コロンブとその後継者たちのヴィオール(ヴィオラ・ダ・ガンバ)合奏曲を集めたアルバム。ジャン・ド・サント=コロンブは17世紀フランス・バロックのヴィオール奏者で作曲家。マラン・マレの恩師ということのほか、生涯は今日謎とされています。

彼は2本のヴィオールのためのコンセールを67曲残しているとされ、ここでは7篇をフィリップ・ピエルロとリュシル・ブーランジェが絶妙に奏しています。

彼には「サント=コロンブの息子」と称される作曲家の息子がいましたが、このアルバムには彼ではなく、同時代のルイ・クープランやシャンボニエールらのヴィオール合奏曲が収められているのも魅力。名手ロルフ・リスレヴァンのテオルボの響きも加わり、古雅な美しさを存分に味わせてくれます。
キングインターナショナル

Despite Jordi Savalls demonstration of his commercial potential, the viol player and composer Jean de Saint-Colombe has not received a lot of attention on recordings. Thus, this recording by viol players Philippe Pierlot, Lucile Boulanger, and Myriam Rignol, with theorbist Rolf Lislevand, is welcome. (The group was formerly known as the Ricercar Consort; the name appears in the graphics here but is deemphasized, perhaps because the music here was not contemporaneous with the ricercar genre.) The album was recorded in 2016 but not released until 2020, which also suggests that someone did not think it would do well. However, nobody else (not even Savall, who was limited by the dramatic concept of the film Tous les matins du monde) has done anything quite like this. The group attempts a re-creation of a viol consort of Sainte-Colombes day, mixing that viol masters works with those of others, some of them in transcription (a practice for which there is some evidence, although not an abundant amount). Viol works by Jacques Champion de Chambonnieres and Louis Couperin are included, and listeners may enjoy picking out the stylistic differences among them. It is Sainte-Colombe himself who offers the wildly daring dissonances that give this repertory its particular flavor. The Monsieur de Sainte-Colombe et ses filles title refers to the fact that Sainte-Colombe is known to have performed with his daughters; if they were composers as well, their works have unfortunately not survived. Thus the album presents a program they might have played. It has the moody atmosphere familiar from Savalls performances of the viol repertoire but in a somewhat more public-facing format. The church sound is a negative. Even with concert attendees present, this was intimate music that mixed intellect with deep melancholy, and the sound environment here is simply messy. However, those who love the viol, and this is a large number of people, will find something new here.