“Marianne Muller reveals Marais as an entirely different character, more secretive, but as moving as ever when the music glides and shivers over Eugène Ferré’s intricate embroidery on the guitar and Pascal Monteilhet’s theorbo, in one prelude in particular or in the long, deep breaths of the radiantly beautiful Sarabande in G in Book III of Marais’ ‘Pièces de viole’.”

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