One of the most grown-up review sites around

Search MusicWeb Here
 

 

International mailing


  Founder: Len Mullenger              Founding Editor: Rob Barnett              Contact Seen and Heard here

Some items
to consider


.
La Mer Ticciati

Eriks EŠENVALDS

Detlev GLANERT

Jaw-dropping

simply marvellous

Outstanding music

Elite treatment

some joyous Gershwin


Bartok String Quartets
uniquely sensitive


Cantatas for Soprano

 

REVIEW
Plain text for smartphones & printers


Gerard Hoffnung CDs

Advertising on
Musicweb



Donate and get a free CD

 

New Releases

Naxos Classical



Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Vacant
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this disc from
Jacques-Martin HOTTETERRE (1673 - 1763)
Complete trio sonatas op. 3
Jean-Henry D'ANGLEBERT (1629-1691)
Harpsichord transciptions from Lully *
see end of review for track listing
Les Eléments (Piero Cartosio, Natalia Bonello (transverse flute), Roberto De Santis (viola da gamba), Gian Luca Lastraioli (theorbo, guitar), Basilio Timpanaro (harpsichord - solo*))
rec. 24-26 August, 12 November 2012, Church of San Pacrazio, Polizzi Generosa, Sicily, Italy. DDD
BRILLIANT CLASSICS 94761 [63:23]

Jacques-Martin Hotteterre was a member of a dynasty of musicians, instrument-makers and composers who were closely associated with the court in France from the mid-17th century until the end of the ancien régime. As performers they played wind instruments of various kinds, such as the transverse flute and the oboe. The former was the instrument of Jacques-Martin who added Le Romain to his name during his stay in Rome from 1698 to 1700. Those years had a strong influence on his development as a composer.
 
Hotteterre contributed to the growing popularity of the flute in the first quarter of the 18th century. At the end of that period it was almost as popular as the violin. The Italian influences in Hotteterre's oeuvre cannot be overlooked. These are present in the first collection which he published as his op. 1 in 1708, which was reprinted in a revised edition in 1715 (recently recorded by Camerata Köln; review). However, that collection includes suites whose movements have French titles and often have the form of character pieces. In his op. 3 Hotteterre only makes use of the form of the Corellian sonata da camera: they are all in four movements, and most of the second movements take the form of a fugue. The titles are still in French, and so are the character indications, such as gracieusement and légèrement. Otherwise these sonatas are more Italian in character than French.
 
This could well have contributed to the performances being as convincing as they are. The ensemble of Italian musicians here has a very good feeling for the features of the sonatas. Also the considerable contrasts between the various movements are perfectly conveyed. The third movements are usually the most expressive: all but one having the indication grave. French elegance comes especially to the fore in the opening préludes, with indications gravement or lentement.
 
The addition of harpsichord pieces by Jean-Henry d'Anglebert may come as a bit of a surprise, especially since he is of an earlier generation. In his time Italian music was treated with contempt and you will look in vain for any Italian influence in his oeuvre. The only collection of music which was published in his lifetime was the Pièces de clavecin of 1689 while some pieces come down to us in manuscript form. There is no lack of recordings of his keyboard works, but what we get here is a part of his output which has not received that much attention. D'Anglebert was one of the first to transcribe instrumental pieces from operas by Lully for harpsichord. Thise was the start of a tradition which would last until the end of the 18th century.
 
The last composer to make such transcriptions was Claude-Bénigne Balbastre (1727-1799). However, he added much material of his own to make the transcriptions more virtuosic. D'Anglebert is more modest in his approach. He "rather focuses on adapting them to the sound and range of the harpsichord, thereby maintaining or indeed enhancing the original expressive content", as Basilio Timparano states in the liner-notes. Having listened to some of Balbastre's transcriptions only a short while ago I am much more impressed by D'Anglebert's efforts in this department. They stay closer to the originals and demonstrate that the extras are not needed to turn these pieces into full-blown harpsichord works. Timparano delivers very fine performances.
 
The connection between Hotteterre and D'Anglebert is that both were admirers of Lully and his operas. Bringing them together also shows how French music developed from the pure style of the latest decades of the 17th century to the goût réuni of the first quarter of the 18th. Those interested in French music of the ancien régime should add this nice disc to their collections.

Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen


Track listing
Jacques-Martin HOTTETERRE
Trio sonata No. 2 in D [5:44]
Jean-Henry D'ANGLEBERT (1629-1691)
Chaconne de Galatée* [2:38]
Jacques-Martin HOTTETERRE
Trio sonata No. 4 in e minor [11:01]
Jean-Henry D'ANGLEBERT
Ouverture de Cadmus* [3:23]
Jacques-Martin HOTTETERRE
Trio sonata No. 6 in G [5:34]
Jean-Henry D'ANGLEBERT
Chaconne de Phaëton* [4:16]
Jacques-Martin HOTTETERRE
Trio sonata No. 3 in b minor [6:08]
Trio sonata No. 5 in A [8:11]
Trio sonata No. 1 in g minor [7:16]
Jean-Henry D'ANGLEBERT
Air d'Apollon du Triomphe de l'Amour* [3:32]
Passacaille d'Armide* [5:24]