John Smyth wrote:

>Also, how does Savall, (my current mid-priced early music hero), compare
>with Coin in Marias' "Suitte d'un---hang on while I get the rest of the
>spelling---gout Etranger?" I've found reviews of both, but no reviews
>that compare them directly.  Your help would be greatfully appreciated.

I wish I could help better, but I have Coin's recording, and other Savall
Marais disks, but not his recording of this piece.  Both players are
recommendable, though I do like Savall's overall approach to Marais because
he's simply done so many disks--orchestral works as well as the gamba ones.
It may come down to any couplings on the recordings (if any), and whether
you have any preference for the continuo players.

>I'm really enjoying this early music stuff.  The Savall L'edtion is
>wonderful.  Highlights for me include the transporting and potent sounds
>of "El Canto de la Savilla II," and the Morales "Officium defunctorum"
>and "Missa pro Defunctis."

If you like the Morales works, you might also want to try Tomas Luis de
Victoria's "Officium defunctorum" of 1605.  I have the McCreesh recording,
but don't think that Savall has done it.

>And if I had to reserve the word "ravishing" to describe only one piece
>and performance of music, I would use it to describe Couperin's "Lecons de
>tenebres" as performed by Rousett and his two sopranos, Veronique Gens and
>Sandrine Piau.  Those suspensions!  (It's like the greatest moments in
>Monterverdi--without all the annoying declamation.) Did I say that?

Some of Lully's Petits Motets might be worth exploring as well--a lovely
one with three sopranos is especially winning.  Les Arts Florissants
(William Christie) has done it.

Bill H.