Leclair went to Paris in 1728 studying composition with
Cheron and becoming a member of the royal band and violinist at the Opera.
After a dispute with Guignon he relinquished his post with the royal band and
retired from the Opera. For the rest of his life Leclair appears to have
devoted his time to composition and the publication of his works. Twice
married, his first wife died; his second wife, Louise Roussel an engraver, who
prepared his works for printing.
It was after the break-up of his second marriage, during the
night of 22nd October 1764, soon after his return from a visit to
Holland, that he was murdered close to his house. It is not known who was
responsible or why the murder took place though family members are thought to
have been behind it.
Leclair’s compositions include an opera Scylla et Chambery (1746), 6
violin concertos, Op.7; 6 violin concertos, Op. 10; 12 sonatas for violin with
bass, Op.1; 12 violin sonatas,
Op.2, 6 sonatas for two violins, Op.3; 6 sonatas en trio, Op.4; 12 sonatas for violin
with bass, Op. 5; trios for two violins with bass, Op.6; 12 violin sonatas, Op.9;
6 sonatas for two violins, Op.12 and the
sonata for violin with bass Op.15.
Adrian Butterfield
(Baroque Violin), Jonathan Manson (Viola da Gamba) and Laurence Cummings
(Harpsichord) have just had released on Naxos www.naxos.com their recording of Leclair’s
Op.2 Violin Sonatas No’s 1 – 5 and No.8.
8.572866 |
Adrian Butterfield http://www.rcm.ac.uk/hp/professors/profile/?id=5039 is Musical Director of the Tilford Bach Society and Associate Musical Director of the London Handel Festival. He regularly directs the London Handel Orchestra and Players and is increasingly invited as a guest director and soloist in Europe and North America. He directs a baroque project annually with the Southbank Sinfonia and is Professor of Baroque Violin at the Royal College of Music in London.
Jonathan Manson www.ram.ac.uk/find-people?pid=182 was for ten years the principal cellist of the Amsterdam Baroque Orchestra. As
a concerto soloist, he has appeared at the Wigmore Hall, the Carnegie Hall and
the South Bank Centre. His long-standing partnership with the harpsichordist
Trevor Pinnock has led to critically acclaimed recordings of the Bach gamba
sonatas and, together with Rachel Podger, Rameau's Pièces de clavecin en
concert. He is a professor at the Royal Academy of Music.
Laurence Cummings
www.rayfieldallied.com/artists/laurence-cummings has played harpsichord and organ
continuo with many leading period instrument groups, including Les Arts
Florissants, The Sixteen Choir, Gabrieli Consort and Orchestra of the Age of
Enlightenment. He has also conducted at English National Opera and
Glyndebourne. As a soloist, he has recorded the harpsichord music of Louis and
François Couperin. He is the Musical Director of the London Handel Orchestra
and the Tilford Bach Society and is William Crotch Professor of Historical
Performance at the Royal Academy of Music.
In the opening Adagio of
Leclair’s Violin sonata in E minor,
Op.2, No.1 Adrian Butterfield has a nice full tone bringing out lovely
sonorities across the range. Jonathan Manson provides some attractive sounds
from the Viola de Gamba with sensitive accompaniment from Laurence Cummings. A
lovely flowing Allegro ma poco
follows, with some lovely articulation from Butterfield and something of the
brilliance of an Italian sound. The lovely Sarabande.
Largo gently unfolds with some really lovely playing from all of these
artists. This is a beautiful piece. A really lively allegro concludes this terrific sonata, with more of that Italianate
feel.
Violin Sonata in F
major, Op.2, No.2 opens with an adagio,
as do five of the sonatas recorded here. After the Viola e Gamba and
harpsichord have a say, the violin enters with some lovely lower, sonorous
notes, weaving a lovely web of sounds with the Viola da Gamba and harpsichord.
There is an intricate Allegro ma poco, with
lovely rising decorations for the violin expertly done. There is some lovely
playing here. The short Adagio acts
as a kind of bridge passage with sustained violin chords with responses from
the harpsichord leading to the Allegro ma non troppo where staccato
bowing reminds one very much of Vivaldi. There are terrific violinistic effects
including intricate trills, double stopping and bariolage technique.
A sweet melody for violin gently accompanied by the Viola da
Gamba and harpsichord opens the Adagio of Violin Sonata in C major, Op.2, No.3. A constant flow of melody is created
with the Viola de Gamba often echoing the violin line. The allegro scampers along in an attractive, descending motif with
terrific ensemble from these players before a lovely wistful largo, full of little twists and turns beautifully
played by Butterfield. Manson provides a deep sonorous support from his Viola
da Gamba with Cummings beautifully filling in the texture. This sonata
concludes with a bouncing, rhythmic Giga.
Allegro ma poco, full of life.
In the Adagio of Leclair’s Violin Sonata in A major, Op.2, No.4, Butterfield always manages to
provide the right amount of expressive playing. Cummings has a lovely way of
providing a kind of spread of chords, brilliantly done. Little clipped phrases
in the Allegro ma non troppo add a
rhythm that is most attractive with, again, spot on ensemble. The unusual Aria: Gratioso has the feel of being
based on a popular song. Leclair’s allegro
finales are so attractive, this one being no exception, rhythmically
interesting, varied and most of all full of life, with terrific sonorities and
affects.
Violin Sonata in G
major, Op.2, No.5 opens with a flowing
Andante with violin and viola de gamba weaving around each other,
accompanied by the harpsichord. The following, finely played, Allegro ma poco is another rhythmically
interesting movement, with little short phrases that give it character. The way
Leclair weaves his melody in the Gavotta:
Gratioso, with subtle little decorations, is most appealing, especially as
played here. A vibrant Allegro assai,
full of attack and forward motion has some lovely delicate touches.
We jump to the eighth of the twelve Op.2 sonatas, Violin Sonata in D major, Op.2, No.8 to
end this disc. There is a leisurely adagio
with more attractive decorative passages, a joyful and lively Allegro, enough to raise anyone’s
spirits, beautifully played and a beautiful, melancholy Sarabande: Largo, exquisitely played by all three of these artists.
The final Allegro assai is full of life making this a terrific conclusion
to this sonata and the whole disc.
There is so much to enjoy in these sonatas finely played by
these three artists with Adrian Butterfield providing a brilliant tone as well
as some richer, even earthier sonorities. If you don’t already know them, these
sonatas are really worth getting to know. The trio are excellently recorded at
St Mary’s Church, Walthamstow, London and there are excellent notes by Adrian Butterfield.
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