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Reviewer:
Lindsay Kemp
Hugo Reyne’s La Simphonie du Marais have been around longer but are associated more with French music than with Bach. Their new recording comes live from concerts in the Théâtre de Thalie in Montaigu, and therein lies its biggest problem: the sound is disturbingly boxy and dry. This is fine if you want to hear every contrapuntal strand (and, let’s face it, there is much to be said for that), but in many other ways it is an uncomfortable experience. This is a pity, because Reyne – who plays the recorder solos, as well as the flute part of No 5 on a D recorder (or voice flute) – is a thoughtful and sensitive musician well worth listening to. His ideas include recorders in strongly contrasted echo in the slow movement of No 4, a fast Minuet in No 1 and a first movement of No 6 that acquires aristocratic poise from what these days is a moderate tempo. Above all he creates what Neumeyer fails to – performances of communicated fellowship and joy, their magical influence revealed by the way the audience spontaneously join in the encore, Reyne’s own rather rustic arrangement of Jesu, joy of man’s desiring. |
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