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Reviewer:
David Vickers
La Rêveuse have hitherto recorded 17th‑century music featuring viols, such as Locke, Purcell and Henry Lawes, but now they turn their attention forwards to Telemann. This group of trios and quartets featuring viola da gamba (sometimes two of them), usually with violin or flute (or both), draws from collections published between 1718 and 1738. Flute, violin, gamba and continuo converse together with relaxed intimacy in the Largo at the heart of Sonata No 2 in G minor (from the collection Quadri, published in Hamburg in 1730), and there is keen cultivation of diverse sonorities in its quicker movements. Likewise, the chromatically tinged melancholy of the Chaconne from the sixth ‘Paris’ Quartet (1738) is balanced with clearly delineated strands from each individual component, all of whom combine to create an eloquent discourse.
Shapely bowing by gambist Florence Bolton and violinist Stéphan Dudermel creates a sincere rhetorical exchange in Trio No 5 in G minor (from Six Trios, Frankfurt, 1718), and its beguiling Adagio is accompanied with discretion by theorbist Benjamin Perrot to poignant effect. Bolton combines intuitively with the additional gamba player Emily Audouin in a charming sonata for two viols and flute, which also features Serge Saitta’s graceful flute‑ playing; the delicate slow movement marked Soave forms a lovely contrast with the vivid quick movements either side of it. Harpsichordist Carsten Lohff steps forward to take a greater share of the limelight with a masterfully despatched obbligato part in partnership with Bolton’s viol in Trio No 2 in A major from Essercizi musici (Hamburg, 1727). |
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