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Jean-Marie Leclair - Sonates pour deux Violons sans Basse, Op.3 (2006)

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Jean-Marie Leclair - Sonates pour deux Violons sans Basse, Op.3 (2006)

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Sonata for 2 Violins in G Major, Op. 3, No. 1
1.   		I. Allegro 00:02:44
2.   		II. Allegro ma poco 00:02:36
3.   		III. Allegro 00:02:21
Sonata for 2 Violins in A Major, Op. 3, No. 2
4.   		I. Allegro 00:02:26
5.   		II. Sarabanda: Largo 00:02:17
6.   		III. Allegro 00:02:34
Sonata for 2 Violins in C Major, Op. 3, No. 3
7.   		I. Adagio Vivace 00:04:56
8.   		II. Adagio 00:02:46
9.   		III. Allegro 00:03:34
Sonata for 2 Violins in F Major, Op. 3, No. 4
10.   		I. Allegro assai 00:02:51
11.   		II. Aria: Andante grazioso 00:04:18
12.   		III. Gigue: Allegro moderato 00:02:55
Sonata for 2 Violins in E Minor, Op. 3, No. 5
13.   		I. Allegro ma poco 00:03:16
14.   		II. Gavotte 00:01:46
15.   		III. Presto 00:02:31
Sonata for 2 Violins in D Major, Op. 3, No. 6
16.   		I. Andante sempre piano — 00:01:28
17.   		II. Allegro 00:02:36
18.   		III. Largo 00:02:01
19.   		IV. Allegro ma non troppo 00:03:38

Monica Waisman, Florian Deuter – violins

 

Harmonie Universelle is formed by musicians from Western Europe and the Americas. Its director, German-born Florian Deuter brings his wealth of experience to the group to bind the array of cultures and temperaments that manifest the voice of the ensemble. Alongside are Mónica Waisman,Argentine Violinist; David Glidden, Canadian violist and violinist; and, forming the continuo, French harpsichordist Philippe Grisvard and Hungarian cellist Balázs Máté. --- prestoclassical.co.uk

 

Leclair’s contribution to music history cannot be overstated. His innovation as a composer revolutionized the French school of violin playing and his playing helped to raise the standard of playing in France immeasurably. By weaving together elements of Italian and French music, he created an entirely new compositional style. His duos influenced later composers such as Mozart, de Beriot, Viotti, and closer to our own time, Bartok and Berio. --- sonoluminus.com

 

Deux recueils cette fois, et seulement de six sonates chacun, le premier (Opus 3) publié en 1730, le second (Opus 12) vers 1747. Une plénitude musicale étonnante au regard des moyens employés, et ce, sans esbrouffe : ces douze sonates « à huit cordes seules », plus encore peut-être que les autres, justifient ce commentaire que Philippe Beaussant adresse à l'ensemble des œuvres instrumentales du musicien : « La rigueur de la composition, la hauteur de la pensée, et aussi le charme, égalent ou dépassent le brillant et l'éclat de la technique. Ce qui est admirable chez Leclair, c'est justement l'équilibre parfait que l'on trouve dans chaque œuvre entre diverses tendances : de l'audace, de la hardiesse, mais profondément réfléchie, pensée, posée sans hâte et à coup sûr. Une correction parfaite de l'écriture, sans froideur ; du lyrisme au contraire, dans certains mouvements lents en particulier, mais grave et presque majestueux dans sa démarche. De la tendresse, mais contenue, de la fougue parfois, ma non troppo. --- musicologie.org

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