Reviewer : Fabrice Fitch Following her hugely enjoyable middleEuropean
mid-century recital for piccolo cello (10/23), Octavie Dostaler-Lalonde presents
a selection from Geminiani’s Cello Sonatas, Op 5, along with a few other pieces
arranged from other publications (taking her cue from the composer, an
enthusiastic arranger of his and others’ music; one of the Sonatas for two
violins, Op 1, is performed on two piccolo cellos, perfectly convincingly). The
recital’s premise focuses on the continuo group that constitutes her ensemble,
Postscript, which is of ‘variable geometry’, to borrow a French phrase – meaning
that all manner of permutations are envisaged, among cello, theorbo, harpsichord
and violone. This includes realising the continuo part with a solo cello, an
approach first advocated by David Watkin with specific reference to this very Op
5. As a result, the continuo line-up can change within individual movements, but
this is done very organically: the conceit rarely draws attention to itself, and
when it does (as in the two-part canon from Geminiani’s treatise The Art of
Playing the Guitar or Cittra), the result is very well taken. Above all, this
fluid approach allows the ensemble to respond to specific situations and
prevents the texture from becoming thick or unyielding.
Dostaler-Lalonde is the star turn here, but as first among
equals. At the top of her register there can be just a hint of tightness in the
tone, but for stylishness and verve she cannot be faulted, nor for the
generosity of spirit that characterises her ensemble playing and direction.
Geminiani can have no more sympathetic an advocate, and his music repays
listening. One of the standout moments is the maggiore middle section of the
last track, which retreads a ubiquitous Baroque ground; but it is so exquisitely
placed and consummately executed that it steals the show.
Sélectionnez votre
pays et votre devise en accédant au site de
Presto Classical ou de Europadisc Livraison mondiale
