Arts-Scène Diffusion



Loves Farewell

Loves Farewell

Ayres for voice & viola

The history of the arts is full of controversies and other debates: the quarrel of the Jester, the Ancients and the Moderns, the Prima and the Seconda Prattica, etc. if they can amuse today, these sometimes inflamed exchanges remain of great interest for the understanding of the ancient music and its historical practice. In the England of the early seventeenth century, a debate opposes Captain Tobias Hume (1569-1645), violist and soldier in the service of the Swedish and Russian armies, and John Dowland, the famous Elizabethan lutenist: the first, jealous of supremacy of the lute, pretends in the preface of his Musicall Humors (1605) - the first collection for viola da gamba - that this one has nothing to envy to the lute and that on the contrary it can largely supplant it, what it did in the following years, the latter beginning to fall out of use in England and the repertoire of viola flourishing during the Jacobean period. It is therefore without much hope that John Dowland, already old and late career, in the preface of his Pilgrim Solace (1612), tries to defend the lute by despising the arrogant youth of which Hume is a part ... If we were today it is difficult to choose between the two instruments, this quarrel between these two colorful characters remains very interesting, especially as to the place of the viola da gamba as an instrument of accompaniment of the voice: if it is now obvious that the viol is a "solo" instrument, it does not seem so obvious that it can do without a lute to accompany a singer, while the opposite would seem perfectly normal. This program features Tobias Hume's Ayres for vocals and violates alone, but also Ayres adaptations by John Dowland in this same formation, thus forming a kind of ultimate response from Captain Tobias Hume to John Dowland, a the soldier's nose to his illustrious elder. Flow my tears, Come again, Now my needs must part, Can she excuse my wrongs, The Spirit of Gambo, etc ...


Lila Hajosi mezzo-soprano 
François Joubert-Caillet violas da gamba


Jean-Stéphane Sourd Durand, BaroquiadeS, Juin 2020

Lila Hajosi a brillé à chacune de ses prises de chant grâce à une vaste amplitude vocale (graves ronds, médiums harmonieux et aigus étincelants). Les ornements ont été utilisés avec intelligence ponctuant, de-ci de-là, la mélodie. La gestuelle mesurée, voire pesée, a accentué la force expressive du texte. Sa voix s’est posée avec délicatesse sur les cordes de la lyra-viol.
Et que dire de la prestation de François Joubert-Caillet sans ne tomber dans la redondance, la superfluité ? Nous avouons sans détour notre admiration pour cet artiste. Doté d’une sensibilité qui ne nous est pas étrangère, il chérit la Musique comme un père aimant tendrement son enfant. Ce don de soi nous le ressentons avec force. Il le porte, l’inspire et nourrit sa musique… Aux côtés de Lila, il a su s’effacer tout en restant présent, confirmant le propos de Hume. La viole est bien L’INSTRUMENT pour accompagner la voix. L’équilibre viole-voix est absolu !
Sa parfaite maîtrise se révèle lors des pièces purement instrumentales


Loves Farewell
Loves Farewell


Focus program: Loves Farewell

This is the latest creation from Acheron this spring, a program consisting of Ayres for voice & viola created in…

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This is the latest creation from Acheron this spring, a program consisting of Ayres for voice & viola created in the abbey church of Saint Michel in Thiérache in early June and which brings together La mezzo-soprano Lila Hajosi and François Joubert-Caillet with violins of range.

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