Marais's "Sonnerie" has been appearing on concert programs in an orchestral arrangement with growing frequency, but aficionados of Baroque music will be familiar with it in its original scoring for violin, viola da gamba, and continuo. Marais takes a descending three-note theme in D minor based on the sound of church bells and uses it as an insistent, even hypnotic background for a rich series of variations that involve all the members of the ensemble. The piece begins with several simple statements of the bass before the violin enters with a rather spiky figure; soon the viol joins in with elaborations of the bass theme, and eventually becomes an equal solo part. The two then trade solo and duet passages and occasionally revert to the bass pattern. After a brief modulation into A minor, the piece effectively takes a deep breath and shifts into F major, with the viol and violin adopting grander gestures, before returning to D minor as it winds down. Marais, who was a viol virtuoso, gave his instrument a somewhat more flamboyant part than the violin, which helps explain the piece's popularity among viol players. Listeners will find it interesting and enjoyable because of its unique sound and character, and for its imaginative treatment of an extremely simple theme.—MVB

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