Forqueray - Pieces de viole | Aparte AP122

Forqueray - Pieces de viole

Label: Aparte

Cat No: AP122

Format: CD

Number of Discs: 3

Genre: Chamber

Release Date: 12th February 2016



Atsushi Sakai (bass viol)
Marion Martineau (bass viol)
Christophe Rousset (harpsichord)


Forqueray, Antoine

Suite no.1 in D minor
Suite no.2 in G major
Suite no.3 in D major
Suite no.4 in G minor
Suite no.5 in C minor


Atsushi Sakai (bass viol)
Marion Martineau (bass viol)
Christophe Rousset (harpsichord)


Each appearance of Atsushi Sakai and Christophe Rousset leaves an unforgettable memory with those who have had
the good fortune to hear them commune on stage. Long-standing partners, they now join together for the first time on
disc for a composer they worship: the mysterious Antoine Forqueray. Born in 1672 in Paris, he was, with Marin Marais,
one of the greatest gambists of all time. Famed for his virtuosic improvisations, he published none of his 300-odd pieces and died in 1745 in Mantes where he had moved in 1731, after having suffered serious financial setbacks, especially in the course of Law’s bankruptcy. Aside from a few handwritten pieces copied in the collections of other composers, Forqueray’s pieces have been lost.

The release of the Pièces de viole, to which the present recording is devoted, is thus the sole important testimony to his oeuvre.

Atsushi Sakai studied cello with Christophe Coin and is often to be found as a continuo player in ensembles such as Les Talens Lyriques and Le Concert d'Astrée, with which he has performed in a large number of concerts and recordings. He is co-founder of Sit Fast (consort of viols) and the Quatuor Cambini-Paris.

Atsushi Sakai (bass viol after Nicolas Bertrand, Paris, 1705 – François Bodart, Chastre, 1988]
Marion Martineau (bass viol after Michel Collichon, Paris, 1693 – Judith Kraft, Paris, 2008]
Christophe Rousset (harpsichord after Ioannes Ruckers, Anvers, 1624 – Marc Ducornet & Emmanuel Danset, Paris 1993)


Atsushi Sakai makes an impressive recording debut as a gamba soloist here. His phrasing is poetic, the tone by turns robust and delicate, his technique flawless. Experience as a jazz musician gives Sakai a free and pliant approach, yet it’s always informed by the refined aesthetic of the French Baroque idiom.  Kate Bolton-Porciatti
BBC Music Magazine May 2016

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