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Appréciation d'ensemble / Overall evaluation :
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Reviewer: Nicholas
Anderson Although Rameau’s younger contemporary Jean-Marie Leclair (1697-1764) was a celebrated virtuoso violinist, he had trained as a dancer, becoming maître de ballet at an early stage in his life. Having studied the violin in Italy, Leclair was drawn to the expressively exuberant and technically exacting style of the Italian musicians, and it is this aspect of his own writing, and his ability to blend and to juxtapose it with the gentler, precise gestures of French dance which gives his sonatas and concertos their distinctive appeal.
Leila Schayegh has chosen two works from each of Leclair’s collections of six concertos, promising that all 12 of them will eventually appear on recordings. From a formal standpoint Leclair’s concertos adhere to his Venetian models, often with demonstrative solo passagework recalling that of his Italian contemporary, Locatelli, by whom he was influenced and with whom he appeared in concert on at least one occasion. Schayegh proves herself an eloquent ambassador for this music, capturing both its extrovert virtuosity and the more sensuous allure of its native beau chant. The strengths of her performance are evident throughout the G minor Concerto with its short but affecting Aria Gratioso. Yet I feel here, and in general, that the strings of La Cetra Barockorchester Basel underplay the music’s energy. There is more of interest in the tutti sections than is allowed to emerge, and on occasion they sound just a little routine.
Notwithstanding this personal
reservation, the solo playing and the accomplished level of ensemble allows me
to look forward to further instalments. | ||||
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