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GRAMOPHONE (04/2015)
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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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