Jacquet de La Guerre: L'inconstante Marie van Rhijn

• Élisabeth Jacquet de La Guerre (1665-1729): Pièces de clavecin, Deuxième Livre:
• 1 "La Flamande" 05:17
• Pièces de clavecin, Premier Livre: Suite en Fa Majeur:
• 2 Tocade 02:15
• 3 Allemande 02:24
• 4 Courante 01:53
• 5 Seconde courante 02:09
• 6 Sarabande 01:52
• 7 Gigue 01:46
• 8 Canaries 01:47
• 9 Menuet 01:27
• Suite en Ré Mineur:
• 10 Prélude 02:40
• 11 Allemande 03:01
• 12 Courante 02:25
• 13 Seconde courante 02:04
• 14 Sarabande 02:16
• 15 Gigue 01:57
• 16 Canaries 02:02
• 17 "L'Inconstante", Chaconne 03:03
• 18 Menuet (Et son double composé par Marie van Rhijn) 01:39
• Suite en La Mineur:
• 19 Prélude 01:48
• 20 Allemande 02:56
• 21 Courante 02:04
• 22 Seconde courante 02:19
• 23 Sarabande 02:23
• 24 Gigue 01:45
• 25 Chaconne 02:44
• 26 Gavotte 01:18
• 27 Menuet 01:18
• Pièces de clavecin, Deuxième Livre:
• 28 "La Flamande", Double 05:16
• Total Runtime 01:05:48

Info for Jacquet de La Guerre: L'inconstante

Élisabeth Jacquet de La Guerre has no reason to be ashamed to finally find herself alongside Chambonnières and Couperin in the discography devoted to the 17th century harpsichord. This is what the scholarly booklet of this new album tells us. Almost unknown today, yet she enjoyed a great reputation during her lifetime. And for good reason. Her inspired compositions exploit all the registers of the harpsichord, giving generosity and brightness to her works.

In her second solo album, Marie van Rhijn continues the exploration of the “Grand Siècle” on a beautiful period harpsichord, the same as in her previous recording. Carried by her programme, the musician has written a “double” for one of the minuets, in the manner of Elizabeth Jacquet de La Guerre of course. Thus fresh wind blows through this repertoire.

Marie van Rhijn, harpsichord

Marie van Rhijn
Attracted by the sound and style from an early age, Marie van Rhijn started playing the harpsichord at the age of seven in Calais. As a soloist and in various groups, she has been invited to perform on stage and at internationally acclaimed festivals in many countries: Austria, Belgium, Bolivia, Brazil, France, Italy, Norway, Netherlands, Republic Czech, Romania, United Kingdom and Switzerland. Concentrating on the « sociable » character of her instrument, she particularly appreciates working in chamber music ensembles and founded the Trio Dauphine with Maud Giguet and Clara Izambert, gaining several awards very positive reviews after two CD recordings with Arion and Evidence Classics in 2012 and 2014.

Her training lead her to Seventeenth Arrondissement Paris Conservatory where she prepared with Ilton Wjuniski her admission to the Conservatoire National Supérieur de Musique et de Danse de Paris, where she obtained with highest honours the Master Harpsichord (studying with Olivier Baumont) and basso continuo (studying with Blandine Rannou) and Master of Education and Certificate of aptitude for education. She holds Master of Musicology from the Sorbonne and a vocal coach diploma. She was the recipient of the Adami, the SYLFF Tarrazi and foundations and the Musical Patronage of Société Générale. In masterclasses, she benefited from the valuable advice of Huguette Dreyfus, Christophe Rousset, Mitzi Meyerson, Kenneth Weiss, Noëlle Spieth. Distinguished in several international competitions in France, the UK, the Netherlands, Austria and Russia, she was also selected for the l’Orchestre Français des Jeunes Baroque (French Youth Orchestra Baroque) for the seasons of 2011 and 2012, as well as by Emmanuelle Haim for the Académie Handel at the Aix en Provence Festival in 2015 and by Laurence Cummings to be part of the six young soloists in residence at the Handel House in London in 2014 and 2015.

Curious and passionate, she shares her pleasure generously on stage and in her teaching. After working for the Early Music Department of the Royal College of Music in London, she now holds the qualification for artistic education and has taught since 2014 at the Conservatoire à Rayonnement Régional de Cergy Pontoise.

Cultivating her multifaceted career, she explores vocal repertoire with joy as vocal coach and in continuo for the ensemble Les Arts Florissants, conducted by William Christie and Paul Agnew, and also for the ensemble Pages at the Centre de Musique Baroque de Versailles and the Centre d’Art Vocal and of Musique Ancienne in Namur.

Booklet for Jacquet de La Guerre: L'inconstante