The instrumentation indications printed on the scores of 18th century violin sonatas were numerous and varied. However, the renewal of baroque performance over recent decades...

The instrumentation indications printed on the scores of 18th century violin sonatas were numerous and varied. However, the renewal of baroque performance over recent decades has imposed the uniformity of a continuo bass played on harpsichord and cello, despite the celebrated ‘o’ of Corelli and many of his pupils in: violoncello o cembalo. Though the use of the harpsichord is not to be called into question, other practices were common, particularly in the case of the violin sonatas. And it was unquestionably Tartini and his contemporaries who pushed a new practice to the forefront from the 1740s onwards: to perform the music of these great violinists-composers with an accompaniment of solo cello, which, far from being incidental, has a major role in the score. Other works of this programme render justice to the cello as a solo instrument, fully equal to the violin, with the first veritable duets for both instruments, something very much in vogue in the classical period. This musical itinerary of duets and sonatas for violin and cello offers a new experience, one that is varied and fascinating, with works of great beauty. Yet David Plantier and Annabelle Luis also show us a new sound image: the fullness of only two instruments of the same family is surprising, whilst the infinite colours and the uncommon pliability presented by this combination reveal unforgettable moments of music.