Hommages Hommages

Homage in music can express different things: gratitude towards a benefactor, a more personal greeting to a friend or acquaintance, recognition of a colleague’s talent, or a testament raised in memory of a teacher or other departed dear one. Paying homage to a late musician with a Tombeau was already an ancient tradition in the time of Marin Marais. Initially, tombeaux were instrumental transcriptions of middle-age and Renaissance vocal lamentations, and were developed around the middle of the 17th-century for the lute, then for the harpsichord by Louis Couperin and Jean-Henri d’Anglebert, and finally for the viola da gamba by Sainte-Colombe. The Tombeaux of Marin Marais are amongst the most original and expressive of those written for the viol, while the last examples of this tradition are the Tombeau pour Marais le Cadet, by Marin Marais (1725) and the Tombeau de Marais le Pčre, by Charles Dollé (1737). A programme full of worship, grandeur and sadness.

Mieneke van der Velden   MIENEKE VAN DER VELDEN studied viola da gamba with Wieland Kuijken at the Royal Conservatorium in The Hague, and was awarded the soloist diploma in 1988. One of northern Europe's leading players, she has been invited to play at various festivals in the Netherlands and across Europe, in a wide range of chambermusic ensembles as well as a soloist in renowned ensembles such as the Amsterdam Baroque Orchestra (Ton Koopman), Concerto Vocale (René Jacobs), Collegium Vocale (Philippe Herreweghe), the Netherlands Bach Society (Jos van Veldhoven) and Cantus Cölln (Konrad Junghänel). She plays music ranging from the French viola da gamba repertoire to Bach's solo obbligato arias. She also has a special interest in 17th-century English music for the bass lyra-viol, as well as contemporary repertoire. Mieneke van der Velden has recorded three discs with the Dutch label Channel Classics, and three for Ramée with her ensemble L'Armonia Sonora, all of which have been well received. She currently teaches viola da gamba at the Amsterdam Sweelinck Conservatorium and at the Royal Conservatorium in The Hague..


Following his studies at the Juilliard School with Albert Fuller, GLEN WILSON moved to the Netherlands, where he continued studying with Gustav Leonhardt. After taking his Soloist's Diploma he devoted himself to a growing career as a soloist, chamber musician and teacher at the Utrecht Conservatory, and was appointed professor for historical keyboard instruments at the Musikhochschule Würzburg, Germany in 1988. He is also regularly invited to teach in international master classes. Glen Wilson has appeared in over thirty countries, playing harpsichord, fortepiano, clavichord and organ. As duo-partner he has performed with Gustav Leonhardt, Emma Kirkby, René Jacobs, Alice Harnoncourt, Max van Egmond, Wieland Kuijken, Michael Chance and Mieneke van der Velden. Besides numerous broadcast programs and many recordings of chamber music and songs, he has released seven solo-CDs for Teldec's "Das Alte Werk", including a highly-acclaimed Well-Tempered Clavier, as well as twelve for Naxos, of which the recordings devoted to Louis Couperin and Dietrich Buxtehude became the top selection of the Penguin CD Guide. Glen Wilson made his debut as conductor with the Netherlands Opera's production of Monteverdi's Il Ritorno di Ulisse in Patria in 1990.

Jean-Henri d'Anglebert (1635-1691)  
1. Prélude en do majeur
Marin Marais (1656-1728)  
Suite en do majeur  
2. Prélude
3. Allemande. Double  
4. Sarabande
5. Menuet I & II
6. Chaconne
Charles Dollé (1710-1755)  
7. Tombeau de Marais le Père  
Jean-Henri d'Anglebert  
8. Prélude en do majeur
Antoine Forqueray (1671-1745)  
Deuxième suite en sol majeur  
9. La Dubreüil
10. La Leclair  
11. La Buisson. Chaconne  
Marin Marais  
12. Tombeau pour Mr. de Lully  
Marin Marais  
Suite en mi majeur  
13. Prélude
14. Chaconne
15. Tombeau pour Mr. de Ste. Colombe
16. Prélude en sol majeur  
Antoine Forqueray  
Cinquième suite en do mineur  
17. La Rameau
18. La Léon. Sarabande
19. La Montigni