Whilst Italian composers had taken up the ‘modern' form of the sonata
and adapted it to the violin at the beginning of the 17th century,
French composers remained faithful to the principles of polyphonic music
with their fantaisies that were still intended for ensembles of viols;
the role of the violin in France at that time was still limited to
providing music for dancing. Such knowledge of polyphony was demanded
not only from composers of vocal music but also from organists, one of
whom was Louis Couperin and who was also dessus de viole de la chambre
du Roi. Our recording comes to a fitting conclusion with the last French
work to be written for ensemble of viols: Marc-Antoine Charpentier's
Concert à quatre parties de violes.
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