Texte paru dans: / Appeared in:
GRAMOPHONE (09/2015)
Pour s'abonner / Subscription information


Code-barres / Barcode : 4015023242975


Outil de traduction (Très approximatif)
Translator tool (Very approximate)

Reviewer: Nalen Anthoni

They are precise and very accomplished. We cannot ask for better technique from Les Buffardins. But a group of only two violins plus one each of viola, cello and double bass has in this recording a loud, thick-textured sound. Harpsichord is dominant, the performances chug. Reduce your usual volume level steeply to achieve transparency, a realistic balance between instruments and a spry buoyancy in rhythm. The change is dramatic, clarifying too the divisions sometimes marked tutti and solo, the latter for the soloist accompanied only by basso continuo which could include keyboard. Small crosses above notes denote a need for trills, or other ornamentation left to a performer’s discretion.


Title notwithstanding, only three pieces – by Blavet, Buffardin and Corrette – are written specifically for flute. Leclair’s was originally for violin, Naudot’s for hurdygurdy, Boismortier’s for musette. Recommended alternatives are flute, recorder or oboe. Frank Theuns uses a piccolo for Naudot, a transverse flute for the others. As director he shapes the stringwriting as he feels it; and as soloist, he also senses the spaces between notes and expresses them through nuances of tone, dynamics and phrasing, eg the Adagio of Leclair’s Concerto, where Theuns takes the initiative to play a section over a pedal E (from 4'02" to 4'28") as an unmarked cadenza with an improvisatory feel. It’s a valid interpretative decision in a slow movement of some depth, as are others in these artistically crafted works. Theuns and Les Buffardins take them seriously. But the caveat: watch the volume.



Cliquez l'un ou l'autre bouton pour découvrir bien d'autres critiques de CD
 Click either button for many other reviews