Joseph Bodin de Boismortier (1689-1755) was a prolific French composer of the Baroque era, known for his accessible and elegant music. He played a significant role in the development of chamber music in France and published music without the traditional patronage system, making him one of the first composers to live comfortably off music sales alone. His output includes operas, cantatas, concertos, and a wide range of instrumental works that were often geared toward amateur musicians and the expanding market of domestic music-making. Recorded here is the entire Op.34 of Boismortier's catalogue, consisting of a collection of six sonatas for 4 parts (three sopranos and basso continuo) published in Paris in 1731. The three soprano parts are completely equal to each other, while the performance practice of the time allows the interchangeability of instruments, so that they may be played by either the violin, the flute or the recorder. The sonatas are characterized by graceful melodies, rich harmonic textures, and conversational interplay between the two instruments. Each sonata typically follows a multi-movement structure, alternating between lively dance movements and expressive slow sections. Performed with grace and spirit by the Italian Ensemble Labirinto Armonico, featuring 3 violins, flute, viola da gamba, archlute and spinet. They play on period instruments.

This abum contains the premiere recording of 6 Sonatas, Op. 63, originally published in 1737 (edition published by Atelier Philidor in 2021). The compositions are exquisite and expressive and have not been heard since the mid- 18th century since the engraved score has only recently been discovered. They are quintessentially French in their general musical style, making extensive use of prescribed ornamentation. The pardessus de viole enjoyed a considerable vogue in France towards the middle of the 18th century. For too long the pardessus de viole, which has an almost indentical range to the violin, has been commonly regarded - even without being heard - as a kind of toy instrument. Now we know otherwise after experiencing how similar, except for it's different register, the pardessus instrument is to all the other members of it's family, including the familiar bass viol. The recent discovery of Boismortier's Op. 63 for two 6-string pardessus de viole is an exciting and important find and FHR are very happy to publish the first recording.

Although it is not known to which mysterious figures they were dedicated, Joseph de Boismortier's cantatas Les Quatre Saisons, published in 1724, resonate with the splendour of court festivities and the eloquence of the salons de conversation. The libretto, written by an anonymous but undoubtedly romantic hand, unfolds it's poetry through the seasons, and the composer seems to have enjoyed recreating all it's subtleties in his music. For her first recording as conductor, Chloe de Guillebon surrounded herself with young talent, accompanied by the skilful musicians of the Orchestre de l'Opera Royal de Versailles.

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Boismortier (1689-1755) was a highly successful composer, active at the same time as Jean-Louis Rameau (1683-1764) during the Rococo era and the reign of Louis XV. He wrote over 100 compositions during his lifetime, and their characteristic lightness and grace made him immensely popular with Parisian sophisticates of his day. This set opens with an upbeat and charming trio sonata (Op.37/3) in which the recorder flits between playful and sombre melody lines with ensemble accompaniment. Boismortier is most known for his compositions for the recorder and the flute, but he composed for a wide variety of instruments. For example, this release includes two suite movements from his Pieces de clavecin Op.59 for solo harpsichord. 'La Puce' (The Flea) has a humorous staccato theme which jumps along the keyboard before evolving into a satisfying harmonic progression. Boismortier's music is a blend of Italian and French styles, and he was the first French composer to employ the Italian concerto style, of which this set contains two examples. An entrepreneur in the modern sense, Boismortier had no patrons and published his own music, a rare feat for the time. The composer earned enough from sales to be self-sufficient, meaning he could freely pursue the latest musical trends without having to conform to the tastes of commissioning aristocrats. Boismortier studied with the accomplished motetist Joseph Valette de Montigny (1665-1738), and he lived in Perpignan for several years working as a receiver for the Royal Tobacco Control before making a name for himself as a composer. Word of his sublime and effortless music soon reached Paris, and not long after, in 1724, he moved to the French capital, where he continued composing until his death. The set closes with rousing folk music in the fourth 'village dance' suite from his 4 Balets de village en trio Op.52. The rustic melodies contrast with an arrangement typically favoured by the elites: Boismortier employs flutes, recorders, violin and a steady basso continuo. This is perhaps a reflection on dual identity, by a composer who climbed the economic ladder from a humble upbringing in Thionville to join the ranks of Parisian high society.

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The period instrument ensemble, Arcanum, presents a beautiful program of works by Boismortier. The baroque ensemble Arcanum was born when Tony Boutte (tenor) and Colin St. Martin (traverso) were asked to put together a concert for the International Conference on the History of Alchemy and Chymistry, held in Philadelphia, PA during the summer of 2007. The concert focused on music that was in some way connected with alchemy, chemistry or magic. One meaning for the term “arcanum” is “a deep secret or mystery” which suited the theme of the event well. The concert was extremely well received, and the ensemble (made up of the two core members, plus harpsichord, cello, violin and viola) was encouraged to continue. Just two years later, Boutte and St. Martin found themselves in Coral Gables, FL where Boutte is now on the voice faculty of the Frost School of Music. (St. Martin is still on faculty at Peabody Conservatory in Baltimore, MD, but spends most of his time between performing jobs and Coral Gables.)

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Flute Music - HOTTETERRE / BOISMORTIER / PHILIDOR / COUPERIN

Sonate 1704 was formed in 2003 by baroque violinist Olivier Brault with Dorothea Ventura (harpsichord) and Mélisande Corriveau (bass viol), with the particular objective of exploring and promoting French music for violin and continuo. Their repertory catalog features more than 100 works, many of which have been first modern performances. 1704 refers to the year in which the first book of French violin sonatas, composed by Francois Duval, was published. While the inspiration for Op. 20, published in 1727, is clearly Italian, the fact remains that French taste intervenes through the use of figures, ornamental possibilities, rhythmic variety, and the use of dance movements such as the tender gavotte, the loure, the passepied or the sarabande.

Les deux Violes (Georg Noeldeke & Rahel Klein, viola da gamba) present their new album on the ANTES EDITION label. Georg Noeldeke was born in Neuenburg in 1964. His first music lessons were with Prof. Rolf Schweizer at the Evangelical Singin School Pforzheim. He studied double bass and musical composition at the music academies in Trossingen and Mannheim. Since 2000 he has worked as a freelance artist with a focus on early music and historical string instruments. Rahel Klein was born in Calw in 1992 and grew up in a family of musicians. She began playing cello at the age of six, and was drawn eventually to the music of the Baroque era. Rahel Klein works as a freelance musician in various projects. She teaches at the music schools in Calw and Trossingen.

BOISMORTIER: 6 Concertos for Five Flutes, Op. 15

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