Renowned oboist Celine Moinet releases her 5th album with Berlin Classics. The program features a virtuosic Baroque selection of oboe concertos, highlighting brilliance, elegance, and expressive depth, including concertos by Franz Xaver Richter, Jean-Marie Leclair, Alessandro Besozzi, and Carlo Besozzi. It is a vibrant journey through the rich and rarely explored Baroque oboe repertoire, that showcases Moinet's refined tone, technical mastery, and stylistic sensitivity across diverse European traditions.

Taking it's title from a legendary 1728 encounter between violinists Pietro Locatelli and Jean-Marie Leclair, whose contrasting styles were memorably described as angelic and diabolical, Hell's Angels traces the cross-pollination of French and Italian baroque technique through sonatas by Vivaldi, Leclair, Guillemain, Marcello and Mascitti. At the heart of the programme is Vivaldi's rarely heard early Sonata RV 820, it's final movement completed by Adrian Chandler following the loss of the original manuscript. Two-time Gramophone Award winners La Serenissima bring their characteristic authority to over 80 minutes of music spanning some of the most demanding chamber writing of the period.

SOMM Recordings is delighted to build upon it's critically acclaimed discography with violinist, Adrian Butterfield, and the London Handel Players in a new collaboration featuring the Op. 7 set of six Violin Concertos by the French violinist-composer, Jean-Marie Leclair. The London Handel Players, praised by the New York Times for their "soulful depth" and "consummate skill and musicianship," have previously released five Handel discs with SOMM, along with recordings that celebrate Geminiani, J.S. Bach, and Telemann. The group's co-founder and director, period-instrument violinist Adrian Butterfield, has been described as "a marvel" by Gramophone for his recordings of Leclair's first three books of violin sonatas. The solo concerto emerged in Italy in the early 18th century through composers like Torelli, Albinoni and, particularly, Vivaldi. J.S. Bach acquired a copy of Vivaldi's popular set of twelve concertos, L'Estro Armonico, to transcribe and study, and he put his own stamp on concerto writing with works that are larger in scale, making use of more detailed contrapuntal development and a greater degree of harmonic variety. When Jean-Marie Leclair met an untimely death on 23 October, 1764 in a still-unsolved murder in Paris, he left behind a stellar reputation as the founder of the French violin school, along with a collection of works for violin that includes four volumes of solo violin sonatas and two volumes of violin concertos; his Op. 7, heard here, and Op. 10, to follow in the near future. These virtuosic and elegant violin concertos are something of an amalgam of the Italian concerto style and of Bach's formalistic innovations. Leclair was born in Lyon in 1697, and his dream was to become a solo violinist in his own country. But, at this time in France, violin playing was the province of country fiddlers and orchestral players, while the viol was the chosen instrument for the French upper classes. When the Italian violinist-composer, Arcangelo Corelli, published his iconic set of Op. 5 sonatas in 1700, no French violinist was equipped with the technique to perform them. Having spent a year studying dance and composition in the Italian city of Turin, Leclair moved to Paris, where he soon published his first set of twelve violin sonatas. For a couple of years, he commuted between Paris and Turin in order to study with a former student of Corelli's, and, over the course of two decades, published three more sets of sonatas, along with the two sets of violin concertos. The concertos are justly celebrated for their blend of French elegance and Italian virtuosity, reflecting not only Leclair's skill as a renowned violinist, but also his background, which drew on a variety of Europe's national styles. In the early 1910s, Holst became interested in astrology, and he conceived the idea of a suite for orchestra based on the solar system's individual planets. Originally, he composed The Planets on the piano, using the instrument in his newly-built, sound-proofed room in the music wing at St Paul's Girls School as well as the piano at his home in Thaxted. This version for four hands, two pianos was scored by two of his colleagues at St Paul's, Vally Lasker and Nora Day, who acted as amanuenses, because Holst suffered intermittently from painful neuritis in his right hand. Following the resounding success of the orchestrated version of The Planets, the original piano duet score was overlooked, though it was eventually published separately in 1949-51. In 1979, Holst's daughter, Imogen, reissued the complete two-piano arrangement in one volume, and Tessa Uys and Ben Schoeman perform this version here. Elgar's renown was such that, at the height of his fame, several established musicians were commissioned by publishers to make piano transcriptions of his orchestral music. This was no mean feat, given that Elgar's scores are scrupulously marked as to how he wanted every phrase-sometimes even every bar or note within that phrase-to be played. It was the composer, arranger, and conductor, Otto Singer II, who made the transcription for piano four-hands of Elgar's 1905 Introduction and Allegro, scored originally for solo string quartet and string orchestra. Singer's insight and skill are evident in techniques like transferring string double-stopping to spread keyboard chords, and his piano four-hands version is admirably true to Elgar's evolving contrapuntal and harmonic ideas. In Victorian England, the marriage of a tradesman's son to the daughter of a Major-General in the British Army, who was eight years his senior, might not have appeared a perfect match. Yet, the marriage of Edward Elgar and Caroline Alice Roberts turned out to be a love-match. In 1888, as a wedding present, Edward presented to Carice, as he called her, Salut d'Amour. This enduring melody has inspired numerous arrangements for widely varying instrumental combinations, including this one for piano duet.

In a time when life seemed to offer little joy for many people, at least that is how it seems to us today, they sought inner, "true" joy and poured their thoughts and feelings into music, capturing this radiance, this wellspring, and transforming it into sound: on their new GENUIN album, Consort Ripieno Concertino presents Baroque ensemble music that brings joy to our hearts and a smile to our faces! The program features works by Johann Ludwig and Johann Sebastian Bach, Georg Friedrich Handel, Antonio Vivaldi, Giuseppe Sammartini, and Jean-Marie Leclair - delicately scored, transparently, and melodiously played. A source of warmth from days gone by.

Jean-Marie Leclair’s violin sonatas embody a stylistic fusion known as les goûts réunis in which the lyricism and the virtuosity of the Italian school are integrated with the dance idioms of French Baroque music. In this volume, the music reaches new heights of technical complexity in its filigree ornamentation and continuous multiple stopping while still incorporating much wistful beauty. In the Sonata in D major, however, Leclair’s ambition expands yet further, as he combines innate lyricism and rustic drones in a prototype concerto form.

Two prominent Winnipeg Symphony Orchestra musicians, concertmaster Gwen Hoebig, and associate concertmaster Karl Stobbe, offer an album rich in emotion and virtuosity. Opus 3 sonatas for two violins, by French composer Jean-Marie Leclair, is an amazing work with lilting pastorals, graceful sarabandes and fiery jigs, and is played admirably by Hoebig and Stobbe. Leclair, considered the father of violin in France, lived a tumultuous life that led to his assassination in 1764. His ex-wife and nephew, each with their own motives that could make them credible suspects, did not confess and the murder was never resolved. Recognized as one of Canada’s most outstanding violinists, Gwen Hoebig is a graduate of the Juilliard School in New York City. As a student she won every major Canadian music competition, and in 1981 was the top prizewinner at the Munich International Violin Competition. Karl Stobbe has made a name for himself as one of Canada’s most accomplished and diverse violinists. In addition to appearing frequently as a concertmaster in Canada and the United States, Karl regularly performs concerti, recitals, and chamber music, where his concerts have been called “a clinic in the art of violin playing” (Winnipeg Free Press, 2013).

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REVIEW:

The duo have technical mastery to spare, with a bright, clear sound and beautifully clean playing. The first and second violin parts are equally important here, with constant interplay and textural depth, and it’s virtually impossible to tell them apart. The hope that these performances go beyond the technical challenges to give a sense of the man who created them is more than fulfilled in an outstanding CD.

– The Whole Note (Canada)

When Musica Alta Ripa recorded Jean-Marie Leclair’s Trio Sonatas op. 4 in January 1992 and released them on LP in 1993, this debut album became a sought-after premiere release. Since even then the MDG sound engineers were working with the latest digital technology, this production from Nordkirchen Castle’s Baroque Festive Hall could be transferred to disc and digital without a hitch and with the finest room nuances. Leclair was one of the best violinists of his time. The story is told that he had to compete in a musical duel with Locatelli in Kassel- then a most highly popular form of musical entertainment. The chronicler describes his “devilish” playing, contrasting it with the “angelic” style of his Italianrival. His trio sonatas suggest familiarity with the Italian school but also draw on entirely independent French traditions and shine with ingenious inventions and harmonic refinements. The virtuoso and composer Leclair was repeatedly drawn to Paris, where he would play the role of the victim in one of crime history’s greatest mysteries. His murder in October 1764 was never solved. Musica Alta Ripa has worked with MDG for many years, successfully establishing itself as one of the most sought-after early music ensembles. The ensemble’s recordings have earned many international awards, and the vibrant joy of these performances is a source of pure listening fun.

Jean-Marie Leclair, a pure product of the 18th century, was at the crossroads of styles, cultivating a virtuosic art combining melodies à la française and Italian virtuosity stemming from Corelli and Vivaldi. He was 49 when he undertook his first (and only) lyric tragedy: Scylla et Glaucus. A veritable masterpiece, revealing the obvious influence of Rameau, Scylla et Glaucus left a strong mark on French opera. First performed at the Académie Royale de Musique in 1746, this opera, which had a run of 17 performances and enjoyed great success, was only rediscovered in the 1980s (by John Eliot Gardiner in Lyon).

LECLAIR Violin Sonatas, op. 2, Nos. 1–5, 8 • Adrian Butterfield (vn); Jonathan Manson (vdg); Laurence Cummings (hpd) (period instruments) • NAXOS 8.572866 (77:50)


Several years ago, the three Naxos discs comprising Adrian Butterfield’s performances of Jean-Marie Leclair’s first book of violin sonatas (Naxos 8.570888, 8.570889, and 8.570890) appeared, and I highly recommended them in Fanfare 35:3. Butterfield and harpsichordist Laurence Cummings have now returned, with Jonathan Manson rather than Alison McGillivray playing the viola da gamba, with an installment of six sonatas from the composer’s second book. Butterfield’s own notes relate that this set includes five sonatas for violin or flute (two occurred in the first book); and Butterfield emphasizes that Leclair intended these works for a wider group of performers.


The program, in order, opens with one of the sonatas in which Leclair offered the choice of violin or flute. Its four movements begin with an arch Adagio in which Manson displays the richness of the seven-string gamba made in 1978 by Curtis Bryant (Butterfield plays a violin made by David Rubio in 1996 after the 1734 Rode Guarneri del Gesù, while Cummings plays a 2000 harpsichord by Andrew Garlick based on a 1748 model). The book of sonatas appeared in 1728, after, according to Butterfield, Leclair had studied for a time in Turin with Corelli’s student, Giovanni Battista Somis. William S. Newman suggests that, through Somis, Leclair made the acquaintance of the music of both Corelli and Vivaldi; and later he would come under the spell of Corelli’s student Pietro Locatelli, whose devilish virtuosity appears, though restricted mainly to the lower positions, in Leclair’s later books of sonatas. Butterfield draws comparisons between Leclair’s allegro s and Corelli’s, but Somis’s sonatas, at least the later ones of op. 4 (written in 1726, about the year Leclair visited him), fall into three rather than four movements, as all these do. Somis’s works also don’t push the technical envelope far beyond Corelli’s—they’re very tame, as these by Leclair, for the most part, prove to be. Nevertheless, the Second Sonata in Leclair’s set employs double stops freely, and represents generally a more advanced technique. But Butterfield and his ensemble find the commonalties in these works, whatever their instrumentation or technical demands, in the starchy French style in which they present what Leclair had absorbed of the Italian style from his travels. And in the Finale of that Second Sonata, they abandon themselves to an Italian energy that recalls Vivaldi’s, featuring cadenza-like passagework.


The Third Sonata returns to the instrumental choice offered by the First Sonata—violin or flute—and therefore to the more moderate technical demands such a choice implies. Butterfield points out in the notes the melodic affinities of the opening movement of the Fourth Sonata to Corelli’s style, a parallel he and the ensemble exuberantly draw in the performance itself. But those familiar with Somis’s sonatas may find that these works resemble his as closely as they do Corelli’s. In any case, the ensemble brings sonorous virtuosity to the third movement, a double-stopped “Aria: Gratioso .” The Finale combines Corelli’s melodic manner with technically more demanding swirling double stops.


The Fifth Sonata again suggests the simplicity of an arrangement for violin or flute, but its first movement offers Manson, again, an opportunity to display the richness of both his tone and his musical imagination. After a Corellian (or Somisian) Allegro of considerable melodic and rhythmic verve—at least in this performance—the Sonata proceeds through an elegant Gavotte to a piquant Finale, in which Butterfield’s tart ornamentation lends a brisk energy. Butterfield points out that Leclair conceived the Eighth Sonata as a sort of duet for violin and gamba, and his interaction with Manson in the first movement bears out this observation. Its imitative second movement takes advantage of the same manner of writing, even if it isn’t so thorough-goingly polyphonic as similar passages in Corelli’s church sonatas. But Corelli’s personality shines through this movement’s melodic contours as well as through its counterpoint. The Sarabanda offers particularly rich opportunities for conversation between the violin and gamba; the Finale contains chains of trills that enliven its melodic discourse.


Butterfield remarks that violinists have not taken up Leclair’s first two books of sonatas, perhaps because of their modest demands; perhaps his insightful and cleanly-recorded performances (along with those of the first book) will revive some interest in them. Strongly recommended—and not just for the violinistic moments.


FANFARE: Robert Maxham