Joseph Bodin de BOISMORTIER (1689-1755)
Transition baroque
Trente et Unième oeuvre de Mr Boismortier, 1730
Suite en E, si, mi [7:45]
Suite en C, sol, ut [7:01]
Suite en R, la, ré [21:03]
Suite en G, ré, sol [15:25]
Suite en A, mi, la [15:25]
Jean-Louis Charbonnier (viola da gamba), Paul Rousseau (viola da gamba [bc]),
Mauricio Buraglia (theorbo), Pierre Trocellier (harpsichord)
Oeuvre Cinquantième de Mr Boismortier, 1734
Sonata I in e minor [9:34]
Sonata II in G [10:14]
Sonata III in D [12:48]
Sonata IV in d minor [9:20]
Sonata V in c minor [8:41]
Sonata VI en trio in D* [11:57]
Claire Giardelli (cello), Claire Gratton (cello [bc]), Marie Hervé (bassoon),
Laure Vovard (harpsichord)
with Jean-Louis Charbonnier (viola da gamba)*
rec. 26 August-2 September 2013, chapel of Abbey of Pontlevoy, France. DDD
LIGIA DIGITAL LIDI0301271-14 [66:44 + 62:38]
This set brings together two collections which have the
opus numbers 31 and 50 respectively. However, there are just four years between
these publications which attests to the productivity of Joseph Bodin de Boismortier.
This was something which was held against him. Jean-Benjamin de La Borde,
writer on music, stated: "Boismortier appeared at a time when people
were only fond of simple and exceedingly easy music. This skilful musician
exploited the fashion of the day rather too much and wrote countless songs
and duets for the masses, to be played on flutes, violins, oboes, musette
de cour, the hurdy-gurdy, and so on." The composer was not impressed
by the criticism. His simple answer was: "I'm earning a living".
He was probably the first non-aristocratic professional composer who was not
in the service of a court, a town or a church. He didn't need to fulfil
the wishes of an employer, and the size and character of his output attests
to the fact that he had skilled amateurs in mind. In this respect he is comparable
with his German colleague Telemann. Boismortier composed for almost any instrument
in vogue in his time. Many of his collections are playable on various instruments
which is an indication that they are not that idiomatically written. Even
so, some pieces point in the direction of a specific instrument. The op. 31
is even expressis verbis written for the viola da gamba: Diverses
pièces de viole avec la basse chiffrée. It is divided into five suites
according to key, although the word suite is not used: only the keys
are indicated. These 'suites' are of various texture. There
are just three pieces in C, sol, ut, but no fewer than ten in D,
la, ré. The suites all open with a prélude which is followed
by a series of dances or character pieces. Examples of the latter category
are pieces such as La Majestueux, La Moderne and Le
Brut (Suite in D, la, ré). A number of pieces are written in
rondeau form which was very popular in France at the time.
This is fine music, although not quite comparable to the best produced by
the famous masters of the viola da gamba, such as Marais and Forqueray. One
of the nicest pieces is the prélude which opens the Pièces en
A, mi, la. It is also due to Jean-Louis Charbonnier's playing
that I am a little hesitant in my appreciation. He plays well enough, but
now and then is a bit brusque and abrasive. At times I rather missed some
elegance and refinement.
I have no reservations in regard to the second leg of this production, the
six sonatas for cello and basso continuo, with the last sonata being a trio,
printed in 1734 as the op. 50. Strictly speaking this collection is not specifically
intended for the cello. The title page mentions bassoon and even viola da
gamba as alternatives but this is an example of music whose character strongly
points in the direction of the cello. It was printed at a time of competition
between the viol and the cello and their respective supporters. The defenders
of the viola da gamba considered it a symbol of everything that was French,
and which needed to be defended against the attack of the cello. The latter
was a typical product of the Italian style which they rejected as vulgar.
However, they were fighting for a lost cause, because most French composers
felt attracted to the Italian style. The famous violinist Jean-Marie Leclair
openly embraced it, although he brought to it French restraint. Vivaldi's
concertos were even performed in the Concert Spirituel in Paris.
Boismortier's colleague Michel Corrette declared in a treatise of 1741
that "those who are jealous of the cello will always fail in their attempts
to halt the progress it achieves every day. Moreover, it wins over all ears
sensitive to harmony." He then explained the virtues of the cello: "[This]
sonorous instruments's accompaniment (...) articulates its sounds so
well, and enunciates clearly and distinctly". These features clearly
come to the fore in the sonatas op. 50 which explains why they are quite different
from the suites in the op. 31. That said, the sonatas are a mixture of the
Corellian sonata da camera and sonata da chiesa. Part of
the former involves movements in dance form, and in that respect they are
not that different from the viola da gamba suites.
Boismortier's sonatas are not a declaration of war against the viola
da gamba. Only four years before he had published his op. 31, and in the sonatas
op. 50 he suggests a performance on the viol as an alternative. That makes
him a supporter of the ideal of the goûts réünis, the mixture of
French and Italian influences.
Claire Giardelli delivers outstanding performances which underline the rhythmic
pulse. The cello's qualities in regard to articulation are impressively
demonstrated here, and I noted with satisfaction the clear distinction between
good and bad notes. These are truly speechlike performances. The use of a
bassoon in some of the sonatas is a nice gesture and brings some variety in
the sound of the ensemble. The closing trio is given an engaging performance.
Boismortier may have been criticised for the size of his oeuvre but there
is no reason to ignore it. This disc offers much to enjoy, thanks to the composer
and the performers.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
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