Jennifer Eriksson, Director of The Marais Project, and one of Australia's few full time professional viola da gambists, talks about her latest CD, Love Reconciled. The Marais Project was formed by Jennifer in 2000 to perform the complete works of Marin Marais, the widely acknowledged 18th century French master of the viol. The complete Marais has never been performed in Australia and as far as is known, the challenge has only be taken up once before, in France.


Jennifer, what are the differences between Love Reconciled and your first CD?

The most obvious difference to our previous CD, Viol Dreaming, is the addition of violinist Fiona Ziegler and harpsichordist Chris Berensen to our base ensemble of two viola da gambas, theorbo and soprano. In addition, Producer Llew Kiek joined the team this time around. We also miked up all the instruments in the studio and mixed the tracks down whereas on Viol Dreaming we only used a pair of stereo microphones.


What are you trying to do with The Marais Project?
Two things. Firstly, weÕve set ourselves the aim of performing the complete works of Marin Marais and that task in ongoing. Secondly, I am running an experiment in organising a professional chamber music ensemble around the viola da gamba and the viol family rather than the violin family, as is the case with, say, a string quartet. This involves finding and reviving old music that uses the viola da gamba, transcribing for the viol music written for other instruments, and commissioning new works.

Producer Llew Kiek is perhaps better known as a World Musician with groups such as Mara! isn't he?

That is true, but he is a very versatile performer, composer and arranger and well as producing a number of successful CDs Ð and he did spend quite some time in The Renaissance Players. Importantly, he came to the French baroque repertoire with a fresh set of ears, emphasising the dance and entertainment element. He kept saying to us that he was making a CD for the general listener, not for the early music expert, so our performances had to have emotional energy and reach out to people. Besides Llew we regularly work with performers who are not part of the early music scene as the variety keeps us fresh.


There is a new piece by composer Stephen Yates on Love Reconciled isn't there?
Yes, a witty ballet he wrote for us and The Early Dance Consort and then subsequently arranged for full baroque orchestra. New music was not in my mind back in 2000 when we started, it is an idea that has grown over time. For example, we premiered a major new work by Rosalind Page in November which is very beautiful but rhythmically a challenge for people like us who largely play on the beat in double and triple time! Rosalind is writing a major vocal work for us for 2011.


What is your favourite music on the new CD?
If I had to pick a favourite it would probably be the lament, Tombeau de Mr. Meliton, an amazingly intense work. If Bach had written this piece it would be famous but alas, poor Marais is less well known! The other movement that came out especially well was the Sarabande from the D minor suite for two viols. Essentially we did this in a single take and Danny YeadonÕs playing of the first viol part is gorgeous.

So what's next for the Project?
I love what we do and could not think of a better group of musicians to work with. So I suppose we will continue broadly on the artistic path we have set to date with lots of interesting side trips along the way, hopefully including more recordings. November 2009