During the second half
of the 17th century a debate was going
on in France between the supporters
of a purely French style and the admirers
of Italian music. By the turn of the
century the latter had won, and composers
more and more gave in to their admiration
of the Italian style and incorporated
elements of it in their own compositions.
In particular François Couperin
was an advocate of the 'goûts-réünis',
which combined elements of both styles.
Another representative of this 'mixed
taste' was Jean-Marie Leclair, considered
one of the greatest violin players of
his time.
As a young man Leclair
was first and foremost active as a dancer.
He worked as a ballet-master in Turin
in 1722. It took him a long time to
decide whether he was going to be a
dancer or a violin player. He used his
time in Turin to take violin lessons
with Giovanni Battista Somis, a pupil
of Corelli.
In 1723 he went to
Paris, and published his first book
with sonatas for violin and basso continuo.
This was well received by press and
public alike. Back in Turin he composed
ballets and postludes to operas performed
in the theatre. In 1728 he was in Paris
again, published a second book of violin
sonatas and played at the Concert Spirituel.
He travelled to London where the publisher
Walsh printed a book of Leclair's sonatas,
and then performed in Kassel in Germany,
together with the Italian violin virtuoso
Pietro Antonio Locatelli. Whereas the
latter annoyed his audience with a scratchy
tone and a technical show-off, Leclair
was admired for the refinement and elegance
of his playing. This rivalry notwithstanding,
both men seemed to have a friendly relationship,
as they apparently travelled together
to Amsterdam.
In 1733 Leclair enjoyed
official recognition when Louis XV appointed
him as 'ordinaire de la musique du roi'.
Leclair worked together with another
brilliant violinist, Pierre Guignon,
and the famous viol virtuoso Antoine
Forqueray. A quarrel with Guignon about
who was to direct the king's orchestra
led to Leclair's resignation. He went
to the Netherlands, where from 1738
to 1743 he spent three months a year
at the Orange court, and the other nine
months was at the service of a Portuguese
businessman in the Hague. This lasted
until 1743, when his employer went bankrupt.
During the remaining
years of his life things didn't go that
well for Leclair. He composed his only
opera, Scylla et Glaucus, which
got a mixed reception and was soon forgotten.
Privately things didn't go any better:
he separated from his wife, and in 1764
he was murdered, probably by his nephew.
The Italian influence
in Leclair's compositions was such that
his contemporary Blainville called him
'Corelly de la France'. His preference
for a cantabile melody and his use of
sometimes bold harmonics show the influence
of the Italian style. At the same time
Leclair remained a truly French composer
whose sonatas contain many dance forms,
even when the tempo indications are
Italian.
Leclair's music is
technically demanding, but shuns technical
exhibition. Leclair was also very reluctant
to give the performer too much freedom
in the interpretation of his works,
for instance by indicating painstakingly
where ornaments had to be added. Another
feature of his compositional style is
his idiomatic writing for the instrument.
Whereas some of his contemporaries wrote
music which could be played on almost
any instrument, most of Leclair's music
is specifically conceived for the violin,
and can't be played on other instruments.
This recording contains all the sonatas
Leclair indicated to be playable on
the transverse flute. He even goes so
far to write alternative passages for
the violin and the transverse flute
in some of these sonatas. The sonatas
here are something in between the solo
and the trio sonata, as the viola da
gamba has an independent part. It is
only in the 'real' trio sonata on this
recording, though (the Sonata VIII a
3), that the transverse flute and the
viol are on an equal footing.
Barthold and Wieland
Kuijken and Robert Kohnen recorded these
sonatas in 1984. The reissue is especially
welcome, since it is - as far as I know
- the only recording of the complete
flute sonatas. The level of the performance
makes it even more valuable: Barthold
Kuijken was, and still is, one of the
best players of the baroque transverse
flute. He does full justice to the character
of every single movement, be it the
opening adagio of the Sonata in C, op.
2,3 with its strong contrasts, or the
very expressive first movement of the
Sonata II from opus 1. And the gavotta
from the Sonata op. 1,2 is played with
the grace Leclair asks for.
Barthold Kuijken uses
a beautiful original instrument by Rottenburgh
from about 1745. He gets strong support
from his brother Wieland, who also uses
a historical instrument (Bertrand, c1690),
and Robert Kohnen.
In short, this is an
outstanding recording, which I strongly
recommend.
Johan van Veen