Visions du Diable Johanna Rose & Javier Nuñez

• Marin Marais (1656 - 1728): Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose):
• 1 Marais: Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose): Prélude 02:54
• 2 Marais: Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose): Fantaisie 01:13
• 3 Marais: Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose): Allemande 02:09
• 4 Marais: Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose): Courante 01:27
• 5 Marais: Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose): Sarabande à l Espagnol 03:31
• 6 Marais: Deuxième livre de pièces de viole, Suite en mi mineur (Arr. for solo viol by Johanna Rose): Gigue 02:15
• 7 Marais: Deuxième livre de pièces de viole, Suite en mi mineur: Tombeau pour M. de Sainte-Colombe 07:39
• Antoine Forqueray (1672 - 1745): Pièces de Viole avec la Basse Continue, Suite en do mineur:
• 8 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: La Rameau 05:34
• 9 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: La Guignon 04:35
• 10 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: La Léon. Sarabande 04:50
• 11 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: La Boisson 05:16
• 12 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: La Montigni 03:36
• 13 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: La Sylva 06:07
• 14 Forqueray: Pièces de Viole avec la Basse Continue, Suite en do mineur: Jupiter 08:43
• Marin Marais: Deuxième livre de pièces de viole:
• 15 Marais: Deuxième livre de pièces de viole: Les Voix Humaines (Arr. for solo viol by Johanna Rose) 06:27
• Total Runtime 01:06:16

Info zu Visions du Diable

Die Musik dieses Albums stellt hohe Anforderungen an die Interpreten und wurde von zwei der größten Gambisten der Musikgeschichte komponiert: Marin Marais und Antoine Forqueray. Marais „spielte wie ein Engel, Forqueray wie der Teufel“, kommentierte der Zeitgenosse Hubert Le Blanc. Forquerays Musik wurde auch dafür kritisiert, dass sie „so schwierig ist, dass nur er und sein Sohn (Jean Baptist) sie spielen können“, wie der Mercure de France 1738 schrieb. Die Gambistin Johanna Rose und der Cembalist Javier Nuñez setzen ihre Erkundungsreise durch die Welt der Musik für Viola da Gamba fort.

Johanna Rose, Viola da gamba
Javier Nunez, Cembalo

Zur Info: wir bieten dieses Album in der nativen Abtastrate von 48kHz, 24-Bit an. Die uns zur Verfügung gestellte 96kHz-Version wurde hochgerechnet und bietet keinen hörbaren Mehrwert!

Johanna Rose
is widely regarded as one of the most promising viola da gamba players of her generation (El Español). Praised as “an incredibly versatile musician” (Ö1), critics write that her playing “can be wonderfully addictive” (Fonoforum) and that "she works magic with sound and warmth” (Muziekpodium).

Having performed on some of the world’s most prestigious stages—including the Konzerthaus Vienna, Laeiszhalle and Elbphilharmonie Hamburg, Teatros del Canal and Auditorio Nacional in Madrid, the Gran Teatro de Bogotá, the Quirinale in Rome, Teatro Ponchielli in Cremona, Zaryadye Hall in Moscow, and the Topkapı Palace in Istanbul—Rose has drawn sustained international attention for her virtuosity and sensitivity. “Her interpretation is characterized by great technique, but above all by a degree of musicality in no way inferior to the great masters of older generations,” writes Klassik Radio Vienna. She appears as a soloist in the ARD Mediathek.and her concerts have been broadcast live by Radio Nacional de España, RAI 3, WDR 3, Bayerischer Rundfunk, Ö1, and SWR.

Rooted near Bremen and shaped by studies in Basel, Milan, and Seville—where she graduated with highest distinction -Johanna Rose embodies a truly European artistic spirit. Navigating effortlessly between early music and contemporary creation, she combines scholarly depth with expressive freedom. In the words of Radio France, she is “a truly European musician.”

Her second solo album, Histoires d’un Ange (Rubicon Classics, 2019), devoted to the music of Marin Marais, marked a major milestone. The recording was widely acclaimed: “It makes one sit up and listen—though Johanna Rose plays more like the devil than an angel”, wrote klassikfavori. Pizzicato praised the “earthy and robust” approach she shares with harpsichordist Javier Núñez, while concerti highlighted her mastery of the music’s dialogic gestures. “Johanna Rose is someone we should keep an eye on!” (SWR). Radioklassik described the sound of her instrument as “silvery, sometimes archaic, but never smoothed over - angelic? For earthly conditions, simply wonderful,” and SR noted that the album awakens an irresistible curiosity to hear more of Marais at the court of the Sun King.

Alongside her work with historical repertoire, Rose actively connects past and present. Her most recent release is a purely digital album of contemporary music, recorded in duo with clarinetist Diego Montes - “a surprising combination, with real potential for new sounds” (Ö1). In several commissioned works, she incorporates field recordings using the urban soundscape of Seville, specifically the noises of the Alameda de Hércules, as compositional material (Ö1), creating new music through her centuries-old instrument.

Earlier, with 7 Movements, Rose juxtaposed Bach’s cello suites BWV 1011 and 1012 with works by Sainte-Colombe, accompanied by seven video clips. This project, together with Histoires d’un Ange, received three nominations for the prestigious German Opus Klassik Award. BBC Music Magazine described her work as “the best of 21st-century historical performance… visceral and pleasingly direct.”

Javier Nuñez
has been described by critics as a virtuoso harpsichord player, extraordinarily expressive and endowed with a particular taste for ornamentation. He has given solo recitals at festivals like Oudemuziek in Utrecht (Holland), the FeMÀS in Seville (Spain), the Alte Musik live in Berlin (Germany) or the International Festival “Harpsichord, live art” in Belgrade (Serbia). As a member of ensembles such as Accademia del Piacere (Fahmi Alqhai) and L’Estro d’Orfeo (Leonor de Lera), as well as other renowned early music groups, Javier Núñez has performed worldwide at the most prestigious venues. Besides his participation in joint projects with cellist Asier Polo or violinist Lina Tur Bonet, and ensembles like the Skàlholt Quartett (leaded by Jaap Schröder) or the OBS (Seville Baroque Orchestra), he usually performs a duo with viola da gamba players Fahmi Alqhai and Johanna Rose alike. In the same way, he has also been invited as a soloist by the Orquesta Ciudad de Granada (conducted by Vittorio Ghielmi), the Simfònica de les Illes Balears (both orchestras located in Spain) and the Kammersveit Reykjavíkur (from Iceland).

Javier Núñez has numerous recordings for both radio (RNE – Spain, WDR3 – Germany, Ö1 – Austria and RUV – Iceland) and record labels such as ARCANA (his solo CD BACH AFFECTUS, a personal selection among some of the most touching harpsichord pieces composed by J.S. Bach), DEUTSCHE HARMONIA MUNDI, CARPE DIEM, PAN CLASSICS, CHALLENGE RECORDS, RUBICON CLASSICS, PASSACAILLE, DUX (together with Spanish harp player Sara Águeda, titled STRAVAGANZA and containing arrangements of Italian instrumental and vocal music from 1500 to 1700), GLOSSA and CANTUS (his first solo recording à modo Italiano, with Neapolitan harpsichord music from the 16th-17th centuries).

Born in Seville, Javier Núñez specializes in harpsichord at its Conservatory. In 1997 he initiates his studies in the Koninklijk Conservatorium of the Hague (Holland), as a harpsichord student of Jacques Ogg, where he obtained his Soloist Diploma getting the highest grades. He later attends master classes with renowned harpsichord player and organist Davitt Moroney, from whom he receives very valuable advice. Javier Núñez has held the position of harpsichord, basso continuo and chamber music teacher at Palma de Mallorca Conservatory of Music from 2007 to 2013.

Booklet für Visions du Diable