Baroque
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Marc Thomas
Albinoni, Tomaso Giovanni
Bach, Carl Philipp Emanuel
Bach, Johann Sebastian
Bach, Wilhelm Friedmann
Barre, Michel de la
Benda, Franz
Blavet, Michel
Boccherini, Luigi
Boismortier, Joseph Bodin de
Čart, Jiří
Chédeville, Nicolas
Corelli, Arcangelo
Corrette, Michel
Couperin, François
Handel, George Frideric
Hotteterre, Jacques-Martin
Leclair, Jean-Marie l'aîné
Locatelli, Pietro Antonio
Loeillet (de Gant), Jean-Baptiste
Marais, Marin
Marc, Thomas
Marcello, Benedetto
Martini, Giovanni Battista
Müthel, Johann Gottfried
Pachelbel, Johann
Pergolesi, Giovanni Battista
Platti, Giovanni Benedetto
Quantz, Johann Joachim
Telemann, Georg Philipp
Tromlitz, Johann George
Vitali, Tomaso Antonio
Vivaldi, Antonio
Suite de pieces de dessus et de pardessus
Suite de pieces de dessus et de pardessus
Thomas Marc: Suite de pièces de dessus et de pardessus de viole was published in 1724 as part of his first book of pieces and originally composed for the dessus de viole (treble viol) or pardessus de viole (descant viol) with basso continuo.
Because the range and style of treble viol music in this period were very similar to those of the transverse flute, the suite has become a popular transcription for modern and Baroque flutists.
Thomas Marc was active in Paris between roughly 1720 and 1735. That explains why the collection is dedicated to Madame la Marquise de Prie (Jeanne-Agnès Berthelot de Pléneuf), a highly influential figure at the court of Louis XV.
During the early 18th century, the pardessus de viole became extremely popular among French aristocratic women. Marc’s compositions were designed to cater to this fashionable salon culture. The suite is characteristic of the refined French style, balancing delicate ornamentation with structured dance movements. It represents the transition from the grand age of Louis XIV to the more intimate "Gallant" style of the early 18th century.
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
1. Prélude
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
2. Allemande
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
3. Fantasie
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
4. Sarabande
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
5. 2E Menuet; 3E Menuet
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
6. Gavotte en Rondeau
Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH
7. Musette
Marc Thomas
Thomas Marc was an enigmatic French Baroque composer and violist active in Paris during the early 18th century, approximately between 1720 and 1735. Very few biographical details survive, but he is primarily known for his contributions to the repertoire of the dessus (treble) and pardessus de viole. Marc was a skilled performer on the viola da gamba, specifically the higher-pitched members of the family (the dessus and pardessus). His works were part of the flourishing Parisian salon culture, where the pardessus de viole, a smaller, five or six-stringed member of the viol family, became an incredibly popular instrument for female amateur players of the aristocracy.
His most significant legacy is the Suite de pièces de dessus et de pardessus de viole et trois sonates, published in Paris in 1724. This collection was intended to be versatile, with Marc noting on the title page that the pieces could also be played on the flute or other instruments. His music reflects the French High Baroque style, characterized by refined, elegant dance movements (e.g., Courante, Sarabande, and Gigue).