'Polished and spirited performances brimming with joie de vivre and musicality' (Early Music Quarterly)
'This disc, played by someone I once referred to as 'Locatelli incarnate', dismisses the technical difficulties with ease' (Early Music Review)
'Elizabeth Wallfisch, one of the Baroque violin's most natural technicians, is well able to negotiate the difficulties of this music with confidence, showing no fear of a fall from her high-lying melodies or gymnastic strong-crossing' (Gramophone)
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| from Quatrième livre de sonates, Op 9 | |||||
Sonata in D major Op 9 No 3
[14'26]
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Un poco andante
[4'57]
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Allegro
[3'12]
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Sarabande: Largo
[2'48]
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Tambourin: Presto
[3'29]
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Sonata in E minor Op 9 No 2
[19'02]
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Dolce: Andante
[4'33]
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Sarabande: Adagio
[3'28]
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Sonata in G major Op 9 No 7
[16'47]
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Dolce: Andante
[4'40]
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Allegro ma non troppo
[4'18]
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Aria: Affettuoso
[3'56]
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Gigue: Allegro moderato
[3'53]
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Sonata in D major Op 9 No 6
[13'57]
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Allegro
[5'31]
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Adagio
[2'24]
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Gigue: Prestissimo
[2'56]
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Leclair's four publications of sonatas for the violin seem to reflect, in microcosm, the general development of violin performance in France. The first two books (1722 and 1728) present relatively straightforward dance and sonata movements of moderate difficulty, the third and fourth books (as featured here), written in 1734 and c1738-1743 show considerable developments in violin technique together with a bolder harmonic style. The Quatrième livre de sonates (Op 9, dedicated to Princess Anne of The Netherlands) shows an interesting development of the more virtuosic style that the composer first displayed in the third book only a few years before. |