Sainte-Colombe: Suite en Ré mineur pour Viole de Gambe (reference recording: Jonathan Dunford)

[@classicalmusicreference]

Jean de Sainte-Colombe (1640-1700) Suite en Ré mineur pour Viole de Gambe 00:00 Suite en Ré mineur : Prélude 03:10 Suite en Ré mineur : Allemande 06:24 Suite en Ré mineur : Courante / double 09:56 Suite en Ré mineur : Sarabande / double 15:19 Suite en Ré mineur : Gigue 17:02 Suite en Ré mineur : Gaillarde 18:28 Suite en Ré mineur : Ballet Basse de viole (Salomon, Paris 1741): Jonathan Dunford Recorded in 1995, at Montbrisson (France) New mastering in 2024 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ If you enjoy CMRR content, you can join our Patreon page and support our investments in equipment and software for $3,50 per month. Thank you very much :) www.patreon.com/cmrr Sainte Colombe: An Enigmatic Master of the Viola da Gamba Sainte Colombe, an obscure 17th-century viol player forgotten by most viola da gamba enthusiasts and musicologists, suddenly found himself at the center of attention with the release of the film Tous les Matins du Monde (1991). The movie, based on a novel of the same name by Pascal Quignard, portrayed him as a solitary and austere musician raising his two daughters alone in an isolated château, rejecting the opulence and security of Louis XIV's court. Both the novel and the film drew from the scant documentation available to musicians and scholars in 1991. How close was the real Sainte Colombe to his cinematic depiction? While definitive answers remain elusive, years of patient research have uncovered fragments of information about his life and identity. This essay does not claim to provide final conclusions-none exist at present. However, the evidence presented here aims to correct certain errors and misconceptions that have emerged over the past decades regarding Sainte Colombe's biography and works, serving as a foundation for future researchers. The film was a commercial success, winning seven César awards and bringing immediate recognition to the viola da gamba and its music. As Sainte Colombe gained newfound fame, an article published on the front page of Le Monde claimed to have uncovered his true identity: Augustin d'Autrecourt, a musician active in Lyon in the 1650s. However, closer examination revealed this to be a misinterpretation. Indeed, records from the Hospice de la Charité in Lyon reference an "Augustin Dandricourt, alias Sainte Colombe," who worked as a music teacher for orphaned children. This teacher, modestly paid and tasked with basic musical instruction, could hardly be the same Sainte Colombe celebrated in 1678 by the Mercure de France as "renowned for the viol" and teaching eminent players like Marais and Rousseau. The supposed name "d'Autrecourt" was later shown to stem from a misreading of 17th-century handwriting. Further research in the Paris archives uncovered a Jean de Sainte Colombe, a Parisian bourgeois with two daughters, Brigide and Françoise, living in the Rue de Béthizy during the 1650s and 1660s. Notably, this location was near the early residences of Marin Marais, and the viol player Du Buisson lived nearby. Could this Jean de Sainte Colombe be the viol master described in Parnasse François (1732) by Evrard Titon du Tillet, who hosted concerts at his home with his two daughters? Titon recounts how these daughters played treble and bass viol alongside their father, forming a consort of three viols. The elder daughter, Françoise, later married a royal mathematics tutor, while Brigide married an official close to Versailles. These familial ties suggest connections to prominent publishing families, such as the Ballards and the Allains, with whom Sainte Colombe was also linked through compositions like Concert à deux violes intitulé “L’Allain.” Some evidence suggests Sainte Colombe may have been Protestant, which might explain why he appears absent from official Catholic records after the Revocation of the Edict of Nantes in 1685. Protestant connections are also evident in the discovery of six suites for solo bass viol by "Mr. de Sainte Colombe le fils" at Durham Cathedral Library, part of a collection copied by Philip Falle, a Protestant pastor and amateur viol player. Additional findings complicate the picture: another Sainte Colombe, Henri Auger de Sainte Colombe, a Protestant theologian from Béarn, left behind letters and writings that place him in London around the same time as Sainte Colombe le fils. A benefit concert advertised in The Daily Courant in 1713 for “Mr. Sainte Colombe” further indicates the possible presence of the viol master-or his son-in England. A Sainte Colombe family also existed in Lyon, with records of a music teacher associated with the Charité Hospice. While it is unclear if this teacher was related to the viol master, the overlap in names has caused much confusion. Evrard Titon du Tillet mentions the Tombeau de Sainte Colombe in Marin Marais’ Second Book of Pièces de Viole (1701), suggesting Sainte Colombe likely died between 1686 and 1700. Another intriguing discovery comes from Brioude, where a "Sieur de Sainte Colombe" died in 1688, leaving behind an inventory of musical instruments, including viols, lutes, and organs. However, no first name is given in the documents, leaving this Sainte Colombe’s identity uncertain. The Sainte Colombe enigma remains unresolved, but further research, especially in British archives, may shed new light on his life and legacy. Until then, scholars must tread carefully, distinguishing fact from speculation in their pursuit of this great yet elusive master of the viola da gamba. COMPLETE PRESENTATION: LOOK THE COMMENTS Marin Marais & Jean de Sainte-Colombe PLAYLIST (reference recording): kzbin.info/www/bejne/bWWadYqqpJx2p7c

[@jma_bcn]

"Tous le matins du monde" an incredible movie with a fantastic performance of mestre Savall!

[@tamgiaonguyen2454]

Beautiful viola da gamba piece by Sainte Colombe, very melancholic and nostalgic 😻👍👍👍❤️

[@classicalmusicreference]

Jonathan Dunford (2/2): In Parnasse François (1732), Evrard Titon du Tillet provides a detailed description of Sainte Colombe. He states that the composer "gave concerts in his house during which two of his daughters participated, one playing the treble viol and the other the bass, forming a consort of three viols with their father." Could these daughters have been Françoise and Brigide, the daughters of Jean de Sainte Colombe? Further research revealed that Françoise de Sainte Colombe, the elder, married Jean Varin, a royal mathematics professor holding a position in Belfort, while Brigide married Louis Lebé, a secretary of the Marquis de Seignelay, based in Versailles. The Lebé family, publishers of books and music, were closely associated with the renowned Ballard family. Additionally, it is known that Sainte Colombe maintained close ties with a family of publishers called "Allain" (as evidenced by the duet for two viols titled "L'Allain"). It is noteworthy that many individuals connected to Jean de Sainte Colombe were of Protestant faith. These various documents strongly support the link to Jean de Sainte Colombe. However, after many years of research in French archives, I have consistently found Jean de Sainte Colombe referred to as a "bourgeois of Paris" but never as a musician. This plausible Protestant connection is significant, as hostility toward non-Catholics was widespread after 1685 and the Revocation of the Edict of Nantes. Could Sainte Colombe have been a Protestant, and consequently overlooked by official records? Until a document is discovered explicitly identifying Jean as the musician, or the musician as Jean, certainty about this celebrated French musician remains elusive. There is also the claim of one or more sons, likely illegitimate and thus absent from official records. In his 1742 work Réflexions sur l'Opéra, Rémond de Saint-Mard claimed to have known one of Sainte Colombe's sons. He described him as "a simple man who lacked the imagination to lie." Six suites for solo bass viol by "Mr. de Sainte Colombe le fils" are housed in the library of Durham Cathedral. They are part of a 300-page volume of music for solo bass viol, including works by Marais, Dubuisson, Simpson, and many other composers. This volume was entirely copied by an amateur violist and Protestant pastor named Phillip Falle. Interestingly, red ink annotations appear only on the music of Sainte Colombe le fils. Could Falle have been a student of Sainte Colombe le fils, who is known to have lived in Edinburgh, not far from Durham? The Durham library also houses a theological dissertation in Latin by Henri Auger de Sainte Colombe, a Protestant pastor originally from Béarn. His birth record indicates he was born near Pau, in Béarn (France), on June 1, 1680, to Baron Jean de Sainte Colome (spelled with one "m" and no "b") and Marie de Landorte. Henri Auger left numerous letters, and interestingly, he was in London at the same time as Sainte Colombe le fils. In 1713, the latter is mentioned in the London newspaper The Daily Courant in an advertisement for a "benefit concert for Mr Sainte Colombe" held at the Hickford Room in London. Could they have been related? Based on the dates, they might have been cousins. A viol teacher in London in 1716 named "Mr Cynelum" may also have been Sainte Colombe le fils, with the name possibly anglicized for easier pronunciation by English speakers. t seems there were two branches of the original Sainte Colombe family-one Protestant from Béarn and the other Catholic from Lyon. Protestant archives in Paris mention a Parisian Sainte Colombe (without a first name) in the Haag Index, noted in 1700 as being "highly suspect in terms of religion." A list of Parisian musicians compiled in 1692 by Abraham du Pradel includes a Sainte Colombe, but with a blank line in place of an address. Furthermore, this name does not appear in the 1696 tax register for musicians. The Tombeau de Sainte Colombe appears in the second book of Pièces de Viole by Marais, published in 1701. However, this same book includes the Tombeau pour Lully, who died in 1687. This suggests that Sainte Colombe likely passed away between 1686 and 1700. A few years ago, a correspondent pointed out an article by Claude Astor, Musique et Musiciens à Saint Julien au XVIIe siècle: Un Sainte Colombe à Brioude. This article is accompanied by a will and an inventory of Marie d'Estoupe, widow of the Sieur de Sainte Colombe, who was buried in Brioude on November 13, 1688, in the cemetery of the Church of Saint-Julien. This musician, who settled in Brioude at an unknown date, brought with him an impressive collection of instruments. The inventory lists two portable organs, two spinets, seven viols (four bass and three treble), and a lute. It is highly likely he arrived shortly before his death, as it was uncommon for a woman to live alone in a collegiate church. Unfortunately, his first name is never mentioned in any of the documents. With more patient and meticulous research, it might be possible to establish firm and conclusive evidence, providing a birth date, a death date, and perhaps even a genealogy for this great master of the viol. Our team has often faced unsuccessful attempts due to archives that have literally gone up in smoke, both in Paris and in the provinces. Perhaps research in Great Britain, where many archives remain largely intact, will help solve the mystery of Sainte Colombe." Marin Marais & Jean de Sainte-Colombe PLAYLIST (reference recording): kzbin.info/www/bejne/aF7YZHZugreUqac

[@dejanstevanic5408]

The best of the French oldies.... TY

[@Dumballa]

I love this piece. Thanks for introducing me to it. ☺

[@alexsaavedra644]

Good music. Cant beat the old Europe style 🙏

[@classicalmusicreference]

;)

[@chsc4134]

Caramba! Amei a Viola da Gamba.

[@rocinmiguelezrivera1558]

❤❤😊

[@classicalmusicreference]

Jonathan Dunford (1/2): "Sainte Colombe, an obscure 17th-century viol player forgotten by most viola da gamba enthusiasts and musicologists, was suddenly thrust into the spotlight with the release of the film Tous les matins du monde (1991). The screenplay is based on a novel of the same name by Pascal Quignard. The film portrays an austere musician raising his two daughters alone, living in an isolated château, and rejecting the grandeur and security of the Sun King's court. Both the novel and the film relied on the limited documentation available to musicians and musicologists in 1991. How close was the real Sainte Colombe to his cinematic portrayal? No definitive answer will ever be obtained, but a few years of painstaking research have uncovered certain markers regarding who he was and how he lived. This essay will not provide conclusive answers-none exist at this time. Nevertheless, the documentation presented here seeks to correct some errors and misconceptions that have emerged in the past decade concerning the biography and works of this elusive genius, while also serving as a foundation for future research. The film achieved enormous commercial success, winning seven César awards. It brought immediate recognition to the viola da gamba and its music. As the previously unknown Sainte Colombe became the center of attention, an article claiming to have uncovered his true identity appeared on the front page of Le Monde. According to the musicologist who authored the article, Sainte Colombe's real name was Augustin d'Autrecourt, and he lived in Lyon in the 1650s. However, closer examination of the sources revealed this to be a misinterpretation. Indeed, a music teacher who also taught the viol is documented in Lyon during that period. Moreover, the following text was discovered in the archives of the Hospice de la Charité in Lyon: "Record of the admission of Sieur de Ste Colombe, Master Musician, to the institution. Sieur Augustin Dandricourt, known as Sainte Colombe, master musician in Lyon, was admitted by the company after his good character, conduct, and ability to teach and establish music for the adopted children of this house were confirmed. He was charged with maintaining the music program for the girls of Sainte Catherine, also adopted, and teaching composition and the viol to those he deemed most capable. He was to give lessons daily to build a complete music ensemble as quickly as possible, and to assist in divine services on customary feast days and for deceased benefactors. He promised to fulfill these duties to the best of his ability. He expressed gratitude to the rectors, who granted him an annual salary of 150 livres, paid quarterly." The name "D’Autrecourt" mentioned in Le Monde stems from a misreading of 17th-century handwriting. More accurately, it referred to Monsieur Dandricourt, who, as proven by the aforementioned document, used the pseudonym Sainte Colombe or Sainte Culumbe. In that region, there was an influential family named Sainte Colombe, benefactors of the Hospice de la Charité, and it is possible that familial ties existed between the music teacher and this family. However, since the publication of the erroneous article in Le Monde, the misread name "D’Autrecourt" has spread and can now be found in articles, books, album covers, etc. It is high time to eliminate any association between the name D’Autrecourt and the musician Sainte Colombe. It is also known that Sainte Colombe studied with Hotman in Paris. Could he have traveled regularly between Lyon and Paris, such a considerable distance at the time? Moreover, Dandricourt, a modestly paid choir director who, as part of his duties, taught a few girls to play the viol as a continuo instrument to accompany the choir, could hardly be the same Sainte Colombe who, later in 1678, was proclaimed by the Mercure de France as being “so renowned for the viol” and who gave concerts in Paris and taught leading viol players such as Marais and Rousseau. Further research into the true Sainte Colombe, conducted within the Insinuations de Châtelet at the National Archives of France, led to the discovery of a Françoise de Sainte Colombe, who married in 1669. Her father was a certain "Jean de Sainte Colombe, bourgeois of Paris," and one of the witnesses to her marriage contract was an organist named Nicolas Caron (organist at Saint-Thomas-du-Louvre and Sainte-Opportune church). Later, it was discovered that Jean de Sainte Colombe himself had been a witness in 1658. Probing further, it was revealed that in the 1650s and 1660s, Jean de Sainte Colombe was the father of two daughters, Brigide and Françoise, and lived on Rue de Béthizy (now Rue de Rivoli) in the Saint-Germain-l’Auxerrois district. This street intersects Rue de la Monnaie and Rue Bertin Poirée-coincidentally, two of the early addresses of the young Marin Marais. Additionally, on Rue Saint-Germain-l’Auxerrois, located one street above, lived the renowned viol player Du Buisson. Marin Marais & Jean de Sainte-Colombe PLAYLIST (reference recording): kzbin.info/www/bejne/aF7YZHZugreUqac

[@ВладимирШуберт-й6е]

0:33 напоминает: "Стонала ты под еремом татарским" (Ария Шакловитого из оперы "Хованщина" Мусоргского). Вообще музыка супер.

[@Ольга-ь4з8й]

И что сие означает?

[@steveegallo3384]

EXACTLY! Count Mikhail Mikhailovich Speransky & Yevgeny Primakov.....BRAVO from Acapulco!