SAINTE COLOMBE. CONCERTS A DEUX VIOLES ESGALES. Wieland Kuijken, Jordi Sava!! (viole da gamba). Telefunken Das A Ite Werk AW6 42123 (3'80).

No. 27, Bourrasque; No. 41, Le retour; No. 44, Tombeau les regrets; No. 48, Le raporte; No. 54, La dubois.

It is an occupational hazard for record reviewers that they are sometimes sent music by composers they've never heard of. Naturally I hoped to be able to pass on a few sentences from the sleeve-note writer, but it turns out that he knows scarcely any more than the nothing that I know. Even the composer's christian name is forgotten. But it does seem likely that Sainte Colombe taught that other composer for the viola da gamba, Marin Marais, and it is quite certain that he composed (in the late 1600s) as many as 67 of these viola da gamba duets. But are they for viola da gamba? "Deux violes esgales" suggests they were meant for any size of viol, and on this record the sound does get improbably growly when both instruments are playing at the bottom of the compass. The sleeve is not too reliable about distinctions in this field, attributing "15 viola da gamba fantasies" to Purcell, and elsewhere translating viola da gamba as viola. Another bad mark: there is nowhere a list of the items in each 'concert'.

I was unsurprised to be told that the significance of the titles is for the most part "incapable of interpretation". Much the biggest 'concert' is La dubois. It starts with a long rhapsodical piece which must be difficult technically and even more difficult interpretatively, and it is much to the credit of the players that they make sense of it. It must be fascinating to work up a deux the sort of rapport that results in such unanimity, and of course this music was primarily intended for the players. But as a mere listener I must confess that the record does rather seem to go on and on, and if they are thinking of bringing out the Complete Works I shan't be queuing up for them. The little dances are sometimes mildly charming, but often not charming enough. I enjoyed some movements, such as the sad little piece at the beginning of Tombeau les regrets, but this is really a record for other gamba players and specialists in the period. The playing is outstandingly sensitive and musicianly. R.F.