MARAIS: 2 Suites; Tableau de l'Opération de la Taille; Les Relevailles; Chaconne en Rondeau; Marche a la Turque
Cem Duruöz, g-Centaur 2498 - 63 minutes
These attractive solo guitar arrangements of gamba and continuo works by Marin Marais are expertly performed here by guitarist Cem Duruöz. In transcribing the works for guitar, Duruöz follows Marais's suggestion in the preface to his Third book of Pieces de Viola da Gamba that the pieces may be played on other instruments, guitar included. The results are stylish, elegant, and unexpectedly idiomatic. Duruöz plays here on modern instrument with a thoroughly modern technique and tonal palette. This darkness of tone is far from the shimmering , airy quality that one often associates with this music, whether bowed or plucked. But perhaps because of the melancholy that underlies so much of Marais's music, I find it very effective.
Duruöz combines a knowledge of French baroque style with dramatic intensity in interpretation. The intensity is particularly apparent in the passionate, focused reading of the 'Tombeau pour Mr de Ste Colombe', Marais's homage to his teacher and the expressive core of the Suite in E minor. Duruöz gives the anguished rhetorical gestures a bold treatment through his striking use of dynamics, especially the sudden outburst toward the end of the seven-minute lament. This expressive extroversion is in evidence elsewhere on the recording, as in the Allemande to the Suite in A minor, stressing the inherently dramatic character of this music.
By far the most novel pieces on the recording are 'Le Tableau de l'Opération de la Taille' and 'Les Relevailles', which depict -I am not making this up- a gallstone operation and the patient's later recovery. This program is realized with the help of a narrator, in French, of course. As odd as the pieces are with the narrator, it is clear that Marais's music would be positively inscrutable without it, especially the bizarre effects in 'Le Tableau', evoking the moment of incision and removal of the stone.
These strange pieces may not be for everyone, but most will want to hear them at least once for their entertainment value and for the insight they supply into a type of baroque music drama that is little known or heard nowadays. The rest of the program is sure to please, especially as a thoughtful modern treatment of Marais's music.
RINGS
MARAIS (arr. Duruöz) Pieces de viole . Cem Duruöz (gtr) . CENTAUR CRC 2498 (63:18)
Suites: in e; in a. Le Tableau de l'Opération de la Taille, V 108. Les Relevailles, V 109. Chaconne en Rondeau, V 82. Marche ŕ la Turque, V 21.
Cem Duruöz makes his debut with this fine disc of Marais viol pieces arranged for guitar. Duruöz began his guitar study in his native country, Turkey. In the US he has studied at Stanford University (composition) and San Francisco Conservatory. In the past Stanford was an important center combining the study of musicology and performance, though in the 90s its focus shifted to a more traditional Ivy League program, so it's not surprising to find a guitarist from Stanford exploring what might seem out-of-the-way repertoire for his instrument with taste and skill.
Marais gives organists, harpsichordists, violinists, theorbists, guitarist, flutists, recorderists, and oboists explicit license to draw from the more that 100 movements included in his third book for the viol, saying in the introduction that most of the pieces included may be played on several other instruments , though the player should know how to chose music appropriate for each. Duruöz has chosen two extensive suites from the second book, followed by a few other characteristic works (including composer's depiction of the gall-bladder operation). He has made his choices well, for the music sits very well on the guitar, and Duruöz has a fine feeling for the rendering of the ornaments that bring this music to life, integrating them into a natural and flowing musical line. The dances trip lightly, and the tombeau for Ste. Colombe is rendered with dark gravity.
This is an attractive program that should be of particular interest to guitarists looking to expand their Baroque repertoire. The recorded sound is clean and detailed, if a little close and lacking in ambient reverberance. A fine outing - I would be interested to hear Duruöz's performances of the new works in his repertoire.
Tom Moore
Online guide to classical music. The online review...
"Marin Marais and Cem Duruöz"
(Article published in the Turkish daily newspaper "Morning")
Few years ago there was an interesting movie in the theaters: "Tous Les Matins du Monde". The movie was about a musician who was working hard to be successful, with a character of a documentary. The movie was about the famous composer Marin Marais and his efforts.
The composer who was born on March 31, 1656 died in the same city that he was born on August 15, 1728. Marais who was the student of J. B. Lully, entered the Royal Orchestra in 1685 and conducted it together with Pascal Colasse. he benefited a lot from his studies with Lully who was the first known conductor and who conducted by tapping his baton on the floor.
Marais was a virtuoso player of "Viola da Gamba", an instrument from the viol family. This fretted instrument was very similar to today's bowed instruments. He wrote very important works for viola da gamba, which are not very well known today. We can say that he became remembered again due to the art of cinema which had a profound effect during the 20th Century.
Last week I received a great audio CD, which consists of the works of Marin Marais. I listened to it with great pleasure. The fact that this was realized by a Turkish guitarist increased my pleasure and excitement. This guitarist is Cem Duruöz.
After his successful studies in the Ankara Science High School and METU, he went to the USA for his graduate studies at Stanford University. He always developed his guitar performance, which he started at the age of 11 leading to his winning the first classical guitar competition ever held in Turkey six years later. Not only that, he made a significant contribution to the guitar repertoire. He made himself the beautiful guitar arrangements of the works all written by Marais and included in this CD, which is a serious and well-researched project. I believe that his interpretation, which reflects his detailed study of the baroque style, makes this recording an important resource.
This CD which is full of musical messages and acclaim was released by Centaur Records. It contains 21 works, including baroque dances. On two pieces Valérie-Anne Schneider does the narration.
The tendency of playing Early Music in its original form, which I believe is the correct way, is becoming more and more important. I think Cem Duruöz should be added in the list of names such as Jordi Savall, Hopkinson Smith and Javier Hinojosa, who are considered the leaders of this movement. I am proud of seeing a young Turk, whom I knew since the age of 11, in such a list.
Ahmet Kanneci (Translation: Cem Duruöz)
MARAIS
(arr. Duruöz)
Cem Duruöz (guitar)
Centaur CRC 2498 - 63:18 mins... ŁŁŁ
Marais himself stated that his Pičces de viole could be played on instruments other than the viol, but it is rare to hear transcriptions of them today. On this disc, guitarist Cem Duruöz has arranged two suites for bass viol and continuo as well as several individual pieces, including one inspired by the most unlikely of subjects - an operation to remove a gallstone.
Duruöz captures the essence of the originals - their combination of improvisatory freedom and poised restraint - while at the same time giving a contemporary edge to this repertoire. On the whole, the transcriptions are extremely effective: the intricate ornamentation of French viol music sits very easily on the guitar (no doubt because it derives from lute technique), and the brooding, introspective mood that characterises so many of these pieces is emotively conveyed by this intimate, soft-voiced instrument. Sustained melodic lines are rather less successfully realised on plucked strings, and occasionally Duruöz over-accentuates individual notes, disturbing the music's liquid flow. But in all, this is an enterprising project and one which I hope will attract new listeners to the beguiling sound world of French baroque music. Kate Bolton
PERFORMANCE ****
SOUND ****
MARIN MARAIS: PIECES DE VIOLE
MARAIS: Suite en mi Mineur; Suite en la Majeur; Le Tableau de l'Opération de la Taille, V. 108; Les Relevailles, V.109; Chaconne en Rondeau, II.82 en La Majeur; Marche a la Turque, V.21, en Re Majeur
Cem Duruöz (Guitar)
Centaur (CRC 2498)
This is the first time that I have come across this composer's music in arrangements for guitar. Anyone unfamiliar with Marais' oeuvre will only need to know that it is French late Baroque to get an idea of the contents. The composer was very prolific both in his compositions (500 + for the bass viol alone) and his children (19!).
The two suites amount to a total of 17 movements but the reader may be surprised to hear that this is only a selection, the real total being a massive 29, from which Duruöz has made a selection. It is certainly music that fits very well on the guitar, and it is perhaps surprising that so little of it has been heard before in this way. The various movements are extremely varied and ones attention never palls especially when the playing is of such a high caliber as this.
Le Tableau de l'Opération de la Taille, and Les Relevailles include some spoken French dialogue by Valerie-Anne Schneider, and you may be amused to hear that they are actually a description of a Gall Bladder operation and the recovery afterwards. The ultimate character piece indeed!.
At a little over 63 minutes of quality music, with a committed and exemplary performance by a guitarist previously unknown to me, you can be sure that this CD will go down well with any lovers of this rich musical period. Chris Dumigan.