Lyrics & Music Leclair Jean Marie- Le Tombeau ~ Les Folies Françoises, Patrick Cohën-Akenine (B000B8WEUU)

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Lyrics & Music Leclair Jean Marie- Le Tombeau ~ Les Folies Françoises, Patrick Cohën-Akenine

Posted on 2010-09-20

Name:	Lyrics & Music Leclair Jean Marie- Le Tombeau ~ Les Folies Françoises, Patrick Cohën-Akenine
ASIN/ISBN:	B000B8WEUU
File size:	381 Mb
File Size:	1 Cd, 381 Mb
Other Info:	Classical; Eac, Ape+cue, log; covers+booklet

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Leclair Jean Marie- Le Tombeau ~ Les Folies Françoises, Patrick Cohën-Akenine

16 avril 2007 | Alpha | Filesonic + Fileserve

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Violoniste de formation, Leclair a beaucoup écrit pour son instrument, en particulier des sonates avec basse continue et des concertos, synthèses de l'écriture musicale et de la technique violonistique italiennes (Corelli, Vivaldi) avec des rythmes et ornementation à la française.

Usually with repertoire of this kind we are given all sonatas, or all orchestral works. Here, typical of Alpha’s refreshingly innovative approach, there’s a mixture, with three sonatas from Leclair’s Troisième livre de sonatas, published as op. 5 in 1734, framed by a trio sonata based on the overture to Leclair’s opera Scylla et Glaucus (1746), and the remarkably dramatic G-Minor Violin Concerto.

In the preface to his op. 13 of 1753, Leclair made clear that he had included an arrangement of the Scylla overture in order that it might become more widely known than was possible as an orchestral introduction to an opera. His instinct to bring it into wider circulation was sound, since it is a splendid four-movement piece that works very well in this form, especially in a performance as outstanding as the one to hand. I find it marginally preferable to the very good performance by the Rare Fruits Council (Fanfare 25: 6), particularly in the Largo (iii), where the sinuously winding lines are more effective at Les Folies Françoises’s less indulgently slow tempo.

The publication of the 12 op. 5 sonatas dates from a period when Leclair’s fame reached its zenith. Late in 1733, he had achieved all-important official court recognition when he was appointed ordinaire de la musique du roi, and he responded by dedicating the publication of the sonatas to Louis XV. All are in four movements that follow a slow-fast-slow-fast sequence. The A-Minor and B? Sonatas open with the kind of long, tenderly gracious melody that gained the violinist Leclair fame for the beauty of his tone, but the dark, richly double-stopped Grave that opens the Sonata in C Minor moves in a world aptly suited to a work named “Le tombeau.” Faster movements display Leclair’s debt to Corelli (A-Minor/ii), while the virtuosic nature of his writing comes to the fore in a movement like the Gavotta gratioso of the C-Minor, a set of variations that becomes increasing animated before relaxing to end in a passage of quiet lyrical beauty. Patrick Cohën-Akenine’s admirable performances capture not only the lyrical grace of Leclair in the beautifully shaped slow movements, but easily embrace the more demanding writing in playing that achieves true virtuosity without ever becoming forced or mannered.

The Concerto in G Minor, probably Leclair’s best-known concerto, is in some ways a puzzling work. The last of a set of six published in 1745, dedicated to the Spanish Prince Don Philippe, the opening Allegro ma poco occupies dramatically tense, unsettled territory that seems incongruously to prefigure the Empfindsamer Stil of C. P. E. Bach and other North Germans. Stylistically, it carries the concept of the ritornello concerto to a level of complexity way beyond anything attempted by Vivaldi or his fellow Venetians, as does the contrapuntal density of the final Allegro, the opening of which inspires some superbly pointed playing from Cohën-Akenine. Between comes an Aria grazioso, in effect, a Sarabande in which the continuous double stopping somehow acts to distort an elegant scene into a blurred image in which all is not quite as it seems. The soloist’s playing is again splendid throughout, and he is admirably supported by the expanded forces of Les Folies.

The disparate nature of a collection that includes some of Leclair’s finest music makes for a disc that would make an ideal introduction to a composer whose true stature is, I suspect, still not fully recognized. The entertaining notes take the unusual course of discussing the music within the context of a brief case analysis of each of the prime suspects involved with Leclair’s murder in 1764, an affaire never officially solved. -- FANFARE: Brian Robins

The excellent series of baroque music concerts at La Maison Française continued on Tuesday night. Some daring sonatas by Jean-Marie Leclair, the foremost French violin virtuoso of the early 18th century, were performed by three players from the historically informed performance ensemble Les Folies Françoises. Violinist Patrick Cohën-Akenine, harpsichordist Béatrice Martin and cellist François Poly drew the program largely from their fine "Leclair" CD, released a few years ago on the Alpha label.

Cohën-Akenine played with vivacity and accuracy, adding lavish ornamentation while producing a warm, smooth tone on his instrument's gut strings. The fourth and seventh sonatas from Leclair's third book were the most consistently lovely from all three musicians. In the opening Leclair sonata (No. 8 from the second book), Poly did his best at playing the middle part, created for a middle-range viola da gamba and notated mostly in the C clef, but the high passages were often strained and off-key.

Martin's solo set of character pieces for harpsichord by Pancrace Royer was sculpted incisively, exploiting the color possibilities of the Mark Adler instrument at her disposal. Pleasing manual changes enlivened "La Bagatelle," and variation was created by manipulating articulation and tempo shifts, for example giving a seasick feeling to "Le Vertigo." Her realizations of the continuo part in the group sonatas were ornate and diverting, the improvised melodic lines in her left hand complementing the solo part.

Endless fast runs and contrapuntal lines in the violin part of Leclair's "Le Tombeau" sonata put Cohën-Akenine through his technical paces, not always faultlessly. Poly shone strongest in his solo moment, a sonata by 18th-century cello virtuoso Jean-Baptiste Barrière, a difficult work that shows a kinship to Vivaldi in its lively figuration. -- Charles T. Downey, Thursday, March 18, 2010

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Les Folies Françoises

Patrick Cohën-Akenine, violon solo & direction

Léonor de Recodo, Catherine Girard, Bérengère Maillard, François Costa, Odile Podpovitny, Guillaume Humbrecht, violon

Michel Renard, Samantha Montgomery, Sophie Cerf, alto

François Poly, Mathurin Matharel, violoncelle

Damien Guffroy, contrebasse

Béatrice Martin, clavecin

Enregistré en novembre 2004 à Paris à l'église évangélique du Bon Secours.

1. Ouverture En La Majeur, Opus 13 N°3 : Grave

2. Ouverture En La Majeur, Opus 13 N°3 : Allegro

3. Ouverture En La Majeur, Opus 13 N°3 : Largo

4. Ouverture En La Majeur, Opus 13 N°3 : Allegro Assai

5. Sonate N°7 En La Mineur, Opus 5 : Largo

6. Sonate N°7 En La Mineur, Opus 5 : Allegro

7. Sonate N°7 En La Mineur, Opus 5 : Adagio

8. Sonate N°7 En La Mineur, Opus 5 : Tempo Di Gavotta

9. Sonate N°6 En Ut Mineur, Opus 5 "Le Tombeau" : Grave

10. Sonate N°6 En Ut Mineur, Opus 5 "Le Tombeau" : Allegro Ma Non Troppo

11. Sonate N°6 En Ut Mineur, Opus 5 "Le Tombeau" : Gavotta Gratioso

12. Sonate N°6 En Ut Mineur, Opus 5 "Le Tombeau" : Allegro

13. Sonate N°4 En Si Bémol Majeur, Opus 5 : Adagio

14. Sonate N°4 En Si Bémol Majeur, Opus 5 : Allegro Ma Non Troppo

15. Sonate N°4 En Si Bémol Majeur, Opus 5 : Sarabanda

16. Sonate N°4 En Si Bémol Majeur, Opus 5 : Chaconna

17. Concerto En Sol Mineur, Opus 10 N°6 : Allegro Ma Poco

18. Concerto En Sol Mineur, Opus 10 N°6 : Aria Gratioso

19. Concerto En Sol Mineur, Opus 10 N°6 : Allegro

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	Marie-Jean Sauret - Freud et l'inconscient Marie-Jean Sauret - Freud et l'inconscientLES ESSENTIELS \| ISBN: 2841137732 \| 2000-03-31 \| PDF \| 63 pages \| 2.73 MbFreud a emprunté à sa propre vie le matériel de la psychanalyse.Il a dû s'appuyer sur un désir inédit pour imposer sa ...
	Lyrics & Music Jean-Marie Leclair - 12 Violin Sonatas, op.1 Jean-Marie Leclair (1697 - 1764) - 12 Violin Sonatas, op.1Classical \| EAC \| FLAC, CUE, No LOG \| 3 CD \| Complete Artwork \| 1,1 Gb \| rs.com \| 2009Adrian Butterfield, Alison McGillivray, Laurence Cummings“With his four books of Sonatas, ...
	Lyrics & Music Jean-Marie Leclair - Sonatas For 2 Violins, Op. 3 & 12 Jean-Marie Leclair - Sonatas For 2 Violins, Op. 3 & 12Classical \| APE \| 2 CD \| Covers \| 740 Mb \| rs.comChiara Banchini & John HollowayCDI 6 Sonatas for Two Violins, op. 3CDII 6 Sonatas for Two Violins, op. 12LINkMORE
	Lyrics & Music Jean-Marie Leclair - Sonatas, Vol. I Jean-Marie Leclair - Sonatas for violin & continuo, Book 3, Op. 5 Classical \| APE \| 1 CD \| Covers \| 400 Mb \| rs.comConvivium MusicumSonata for violin & continuo, Book 3, Op. 5 No.6 in C major "Le Tombeau" Sonata for violin & con ...
	Lyrics & Music Jean-Marie Leclair - 6 Trios, Op. 13 Jean-Marie Leclair - Overtures & Trio Sonatas, Op. 13Classical \| APE \|1 CD \| Covers \| 445 Mb \| rs.comLondon Baroque1-4. Ouverture I in G5-8. Sonata I in D9-12. Ouverture II in D13-16. Sonata II in b 17-20. Ouverture III in A21-24. Sonat ...
	Lyrics & Music Jean-Marie Leclair - Sonatas vol. II Jean-Marie Leclair - Sonatas for violin & continuo, Op. 9Classical \| APE \| 1 CD \| Covers \| 355 Mb \| rs.comConviviumSonata for violin & continuo in D major, Op. 9/3Sonata for violin & continuo in E minor, Op. 9/2Sonata for violin ...

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