reviewvancouver: Salish_Sea_Festival_FranceandItaly_Chaconnes 2026

An all-star ensemble brought back to life music not often heard since the demise of Louis XIV. The staggering glory of the Sun King was less on display here than the warmth, charm and intimacy of 17th century chamber music, reliable yet inventive, dancing music which dances, technically superior yet expressive.

Drawing in part from a 17th century compendium of pieces from the French court, Recueil de Plusiers belles pieces de simphonie, and other publications, Salish Sea EMF built a programme centred around the Chaconne, a form which opens realms of variations and improvisations.

Opening with a later period Chaconne from Sonate VII by Andre Cheron (1695-1766) the ensemble allured the ear with eloquent grace. This single movement was followed by a full Suite from Pierre Danican Philidor. From Ouverture through Air, Gigue and Bourées to the closing Chaconne, each movement was eminently danceable. Two rich and subtle Ritournelles, one possibly by Lully and another certainly by him, surrounded a Ciacona from Corelli’s Sonata XII, luscious with suspensions and lively with scintillating passages and a Duo for two viols by Louis Couperin. Here the pardessus de viole really shone. It was invented around 1700 as violins were coming into vogue, in part so women could play the fashionable violin music, it being inelegant to twist one’s body to the shoulder position. Singing and sumptuous it is both like and unlike the violin and melds gorgeously with its lower sister.

The concert came to a satisfying close with Marin Marais’s Trio in C major from his Pièces en TRIO, written expressly with pardessus de viole in mind. Variously lilting and languishing, sparkling and sombre, in its movements, the playing was delicate and nimble, and alive.

There should have been a harpsichord with this ensemble to lend contrast, highlighti themes, provide structure and add another voice to the conversation. In an unfortunate turn of events connected with border crossings and government regulations, Olena Zhukova was unable to join Jeffrey Cohan (flute), Susie Napper (viola da gamba), and Melisande Corriveau (pardessus de viole).

Nevertheless, the harmony and sympathy existing between these three excellent musicians bestowed an enjoyable satisfaction on their audience. The viols and flute were perfectly matched, artistry and technique unquestionable The wealth of ornamentation which this music demands was skilfully played, never over-showy and carefully placed. Deliciously chromatic trills and trickling runs thrilled.