From the Versailles of the Baroque to the Empordà of the 21st century, the master Jordy Savall recorded the music played at the courts of Kings Louis XIII, Louis XIV and Louis XV on Monday. was listed Peralada Festival. in the evening atcarmel churchsynced as The evening of the three kingsit was Savall’s third time entering the competition, this time as a performer, with his seven-string bass viol Barak Norma of 1697 and directing the six musicians from The Concert of Nations.
When the Temple was full, Savall and Le Concerts des Nations unfolded a program that began in 1641 with the Suite of ballet d’Stockholm by Guillaume Dumanoir. Works by the great masters of the viola were later added, such as Monsieur de Sainte-Colombe, le père, who introduced the seventh string to the gamba viola, giving it “amplitude” in order to be able to capture all the sounds produced by a human being at different stages of life , as Savall explained.
His privileged pupil Marin Marais was also part of the repertoire Tomb for Monsieur de Sainte-Colombe I couplets from follies of Spain.
Couperin Le Grand and Jean-Féry Rebel, with several passages from The Elementsother masters were invoked in Peralada in a concert full of musicelegance this day sophistication of the old music that keeps Savall alive.
The performance ended with part of the sonata VIII to Three (Re major, Op. 2, No. 8) by Jean-Marie Leclair.
The audience’s enthusiastic ovation was met with two encores, which Savall performed at length, although some of the explanations did not go over well with the audience. The first was a piece from 1560 which had great success in 1601 when it was performed at a party that brought together all the instruments of the time in what might be called the nucleus of the baroque orchestra, and the second a composition for concertante harpsichord by Jean Philippe Rameau, with whom the Igualadí maestro and his musicians evoked the spirit of Versailles by touching the Castle of Peralada.
