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Was mich an all diesen Melodien faszinierte, die ich nach und nach entdeckte und mir anschließend sehr vertraut wurden, wie jene von François Couperin, Caix d’Hervelois, August Kühnel, Jan Schenk, Christopher Simpson, Diego Ortiz und natürlich die drei Sonaten von J.S. Bach für Gambe und Cembalo, war der deutliche Geschmack einer alten, unbekannten Welt, die jedoch voller Leben, Lyrik und Phantasie und somit hoch aktuell war.
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It was around 1959 that I discovered the existence of Marin Marais and his Pieces for Viol. I was seventeen and had been studying the cello for just over two years. Being very inquisitive by nature, I was already searching for unknown works, music that nobody played any more. At number 97 on the famous “Ramblas” in Barcelona, in the music shop called “CASA BEETHOVEN”, I was intrigued to find a “Suite in D minor”, arranged for the cello by Christian Döbereiner and published by SCHOTT & Co. in 1933. I remember being instantly charmed by the highly original character of the various pieces it contained: Prélude, Sarabande Grave, Paysanne, Charivary and, in particular, by the Variations of the Folies d’Espagne. What fascinated me about all those pieces that I gradually explored and continued to revisit, like those by François Couperin, Caix d’Hervelois, August Kühnel, Jan Schenk, Christopher Simpson, Diego Ortiz and, of course, J.S. Bach’s three sonatas for viola da gamba and harpsichord, was their distinctive style, one which although belonging to an earlier, unfamiliar age, was at the same time acutely relevant because of its vitality, poetry and imagination.
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