L'Achéron

From its birth to the present day, the viola da gamba has never ceased to evolve, whether in terms of lutherie, playing or repertoire, but some of its works have also illustrated transformation or mutation: variations on obstinate basses, for example, or Marin Marais' Le Labyrinthe, Tombeaux, arpègement preludes, etc.: the idea that music alters the state of the soul, catharsis, or represents a sometimes initiatory path to ascend towards a form of religious or philosophical ideal. The idea that music alters the state of the soul, catharsis, or represents a sometimes initiatory path to follow in order to rise towards a form of religious or philosophical ideal.

The viol has had many faces: it has embodied improvisation (Ortiz), melancholy (Hume), grandiose sensitivity (Marais), the reunion of tastes (Schenck), the sublime (Bach), gallantry (Abel), it has been disguised (Arpeggione), forgotten and then rediscovered, and today takes on a variety of identities, from contemporary to popular music.

These changes are also particularly evident in the second quarter of the 21st century: generations of viol masters are succeeding one another, the great names of the instrument are gradually retiring and making way for new personalities within the great schools of early music, such as the recent appointment of François Joubert-Caillet to the Schola Cantorum Basiliensis, succeeding August Wenzinger, Jordi Savall and Paolo Pandolfo.

Whether in its music, its uses or its performers, the viola da gamba is constantly changing, its metamorphosis perpetual, inevitable and fascinating.

Cast

François Joubert-Caillet, bass viol
Philippe Grisvard, harpsichord