Having known Shaun for many years, and for me having a strong interest in the recording arts, we had always been looking for an opportunity to work together on a recording. The work of Marin Marais seemed like a natural fit to showcase the timbre and qualities of the viola da gamba and so a date was set.

Recorded in high resolution in a converted film screening room, it was an enjoyable challenge to try to accurately and faithfully capture the subtle nuances of the viol and Marais’s work. Being an unaccompanied solo performance, there is no where to hide however this was not an issue for Shaun with his experience and connection to the baroque repertoire.

With busy lives, it has been a slow process over many years of editing the takes we recorded, with a focus on the purity and raw sound of the instrument to ensure an honest and accurate representation of the work. Re-visiting the recordings over the years in some ways has been a blessing as it has allowed us to gain new perspectives on the work and better shape the edit for this ultimate release.

Iain Brew

All viol players play Marin Marais these days, but not all of them perform his music unaccompanied. I discovered during my study of the French viol literature that Marais published his first book in 1686 without an accompaniment part. He only released the accompaniment three years later in 1689. But by 1688, there were reports that everyone was playing them. Considering that so much viol (and instrumental) music before 1686 was unaccompanied, and the art of accompaniment at that time was relatively new, I knew I was justified in my approach. More importantly, it provided me with an opportunity to explore this side of solo music making, one that was perhaps more prevalent in the baroque era than we think today. This recording is my attempt at recreating this intimate musical experience for listeners.

Shaun Ng