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Jean-Marie LECLAIR (1697-1764)
Violin Sonatas Book 1, Nos.1-4 (1723)
Violin Sonata in C, Op.1/2 [15:04]
Violin Sonata in B-flat, Op.1/3 [14:15]
Violin Sonata in a minor, Op.1/1 [18:52]
Violin Sonata in D, Op.1/4 [16:04]
Adrian Butterfield (baroque violin);
Alison McGillivray (viola da gamba); Laurence
Cummings (harpsichord)
rec. St Mary’s Church, Walthamstow, London, 3-5 and 8-10 January 2008.
DDD.
NAXOS
8.570888 [64:15] |
alternatively
CD: AmazonUK AmazonUS
Download: Classicsonline
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Jean-Marie LECLAIR (1697-1764)
Violin Sonatas Book 1, Nos. 5-8 (1723)
Violin Sonata in A, Op.1/5 [9:17]
Violin Sonata in e minor, Op.1/6 [14:02]
Violin Sonata in F, Op.1/7 [14:52]
Violin Sonata in G, Op.1/8 [17:02]
Adrian Butterfield
(baroque violin);
Alison McGillivray (viola da gamba); Laurence
Cummings (harpsichord)
rec. St Mary’s Church, Walthamstow, London, 3-5 and 8-10 January 2008.
DDD.
NAXOS 8.570889
[55:14] |
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Leclair’s Op. 1 Sonatas were such a success when they
were published in 1723 that the volume quickly had to be reprinted.
He apparently studied the violin in Turin and rapidly became
renowned for his technical expertise; these sonatas do place
considerable demands on the performers, but they never indulge
in virtuoso showing off for its own sake. All those on these
two CDs follow the Corellian sonata da chiesa, four-movement
type, apart from No.5, which is in three movements, and No.4
with its extra minuetto. The influence of Corelli is
apparent but there is a considerable element of French elegance
here, too, with emphasis on a cantabile, or singing
line.
Some time ago I reviewed a
Naxos 2-CD recording of Leclair’s Flute Sonatas which
included alternative versions of two of the Opus 1 Sonatas
now under consideration in their Violin Sonata guise. I found
the music charming but a little too much of a sameness to enjoy
other than in small doses. My colleague Carla Rees was much
more taken with that set, making it Recording of the Month
and deeming it unmissable - see her review.
The first work on the first of the new CDs, Op.1/2, also opens
the earlier flute recording. The tempi on the new recording
are faster than before, especially in the Gavotta third
movement. I preferred the sound of the violin in this work
- after all, Leclair is best known for his contribution to
the development of the violin repertoire - but I also felt
that the music benefited from being taken at a rather livelier
pace.
I noted in my earlier review that the flute version of this
sonata is taken slowly; though it never sounds too slow, I
did find myself preferring the new version. Leclair cautioned
players against playing his music too quickly, but even in
the Gavotta the tempo adopted by Butterfield and partners
is as grazioso as the marking indicates that it should
be. The finale, too, marked Giga: Allegro, goes with
a swing, but the speed is never excessive.
A degree of re-writing was necessary to fit Op.1/2 to the flute’s
register; this, too, may partly explain my preference for the
original violin format. I would never have described myself
as sharing Mozart’s reputed dislike of the flute - a
dislike which I find incredible when he wrote such beautiful
music for the instrument, especially the Concerto for Flute
and Harp - so I don’t think there’s some irrational
and unconscious dislike of the instrument at play here.
The performances of the other three sonatas on the first of
the new CDs are of the same high quality. I played the whole
disc without any criticisms but with great enjoyment. Perhaps
I was too dismissive in describing the chamber music with flute
as superior background music. I certainly rate the new recording
much higher than that.
Op.1/6, on the second CD, also features on the earlier flute
recording. Whereas Op.1/2 had to be partially rewritten to
fit the flute’s register, this sonata needed no rewriting,
so direct comparison is possible. Once again, whether as a
result of my preferring the violin in this music, or because
the playing is more convincing, I enjoyed the work very much
more than on that earlier occasion. If anything, the second
CD sounds even more delightful than the first. If you buy only
one of these CDs, make it the second - but then you’ll
want the first, too.
In my earlier review I mentioned my preference for the viola
da gamba in this music; apart from one work, the earlier recording
employs the cello instead. Perhaps that, too, is a reason for
my preferring the new CDs. Sonatas of this type can work well
with just violin and harpsichord, as on the Naxos recording
of Corelli’s Op.5/7-12 (see below) but the gamba is played
with such sensitivity here that I didn’t find it at all
intrusive. If I have a small reservation about the recording
it concerns the comparative obscurity of the harpsichord, a
complaint that I find myself making fairly frequently of modern
recordings of baroque music.
There is (or was) a well-regarded recording of four of the
Op.1 Sonatas on Astrée Naïve (E8662, François
Fernandez, etc. in Nos.1, 3, 8 and 9), but I can’t find
this listed any more. In any case, you’ll probably want
more than just those four items.
If you followed my recommendation of an earlier Naxos recording,
of Corelli’s Violin Sonatas, Op.5/7-12, on 8.557799 -
see review -
you will almost certainly like these two new CDs just as much.
The performances, too, are of the same high quality as on that
earlier recording, though by different performers. With good,
bright recording, excellent notes by Adrian Butterfield, and
Naxos’s usual well-chosen contemporary paintings on the
front cover, these CDs should find a ready market.
The third volume of this series is due to appear soon; it’s
already available from several dealers as I write and as a
download from Naxos’s sister site, classicsonline.com.
If I don’t receive the review copy of that, watch out
for a review of the download in one of my future Download Roundups.
The quality of the music here may well inspire you to try out
some of Leclair’s other music for violin. A good place
to begin would be with Simon Standage’s recordings of
the Violin Concertos (CHAN0551, 0564 and 0589) and Sonatas
from Opp.3, 6 and 14 (CHAN0582) and Op.9 (CHAN0726), all on
the Chandos Chaconne label. I recommend starting with the first
of the three volumes of Violin Concertos (CHAN0551).
Here the model is Vivaldi rather than Corelli but these are
more than mere imitations - and the pupil’s work proves
almost as great as the master’s. If anything, the music
is even more attractive than the Violin Sonatas and it receives
first-rate performances from Simon Standage, soloist and director
of Collegium Musicum 90. With excellent recording and presentation,
you really ought to try this after the Sonatas, thereby extending
by a further hour the two hours of pleasure that you’ll
derive from the new Naxos CDs, which not only fill a niche
in the market - a Naxos speciality - but do so delightfully.
Brian Wilson
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