GAVOTTE. 1717
From "Suite of a Foreign Taste". Viola pieces from the
fourth book.
Martin Marais (1656-1728).
Once again with the interpretation in the style of
unequal notes (inequality) and with the characteristic
character of court dances, the Gavotte which
is part of the "Suite of a Foreign Taste" chosen here
is presented in the key of E major (originally in E
flat major) and although the suite may suggest some
kind of neighboring country influences or styles like
Italy, the w...(+)
GAVOTTE. 1717
From "Suite of a Foreign Taste". Viola pieces from the
fourth book.
Martin Marais (1656-1728).
Once again with the interpretation in the style of
unequal notes (inequality) and with the characteristic
character of court dances, the Gavotte which
is part of the "Suite of a Foreign Taste" chosen here
is presented in the key of E major (originally in E
flat major) and although the suite may suggest some
kind of neighboring country influences or styles like
Italy, the work retains a French style with the
indication "légèrement" only for the transcription on
the guitar, a few small
passage such as the melodic bass line of bar seven must
have moved the octave. The same thing also happens in
bar thirteen. In the
second part of the book of pieces for viola is this
suite, from which the current Gavota, numbered 60, was
taken. It is original for viola da gamba and basso
continuo. (Excerpt from the book French Music of the
17th and 18th Centuries, Transcriptions for guitar.
Author: Diego Monge)
