ジェネレーションズ～ヴァイオリンとチェンバロのためのソナタ集

最高級の気品に満ちた演奏!
古楽界の王様クリスティと、俊英ド・スワルテによるルクレール&スナイエ

ルクレールとスナイエは18世紀の"フランスのパガニーニ"とも言われます。コレッリ(1653-1713)の圧倒的な成功の後、印刷技術の発達もあり、フランスでは18世紀のはじめの30年間で飛躍的に器楽、特にヴァイオリン作品が発展を見せました。フランソワ・デュヴァル、ジャケ・ド・ラ・ゲールら様々な人気作曲家がひしめき合った当時フランスの中で、特に技術的に高度でありながら詩情にあふれ、変幻自在で舞曲のような魅力的なリズムの作品を多く残したのが、ルクレールとスナイエ。現代における彼らの評価はまだまだ充分にされているとはいえません。そんな状況を打破すべく、古楽界の王様クリスティと若き天才ヴァイオリン奏者スワルテが、世代を超えてタッグを組みました。最高級の品格とテクニックに満ちた演奏を展開しています!
キングインターナショナル

The Generations of the title of this wonderful Harmonia Mundi release are not those of the composers represented; Jean-Marie Leclair and the far less well-known Jean-Baptiste Senaille were near contemporaries. Instead, it refers to the pairing of harpsichordist William Christie, over 75 when the album was made, the lion of French Baroque music, and rising star violinist Theotime Langlois de Swarte. The combination is indeed compelling, with the violinist offering a good deal of fire borrowed, perhaps, from new Italian styles of playing, and Christie in the notes proclaiming himself rejuvenated. Listen to the Corrente from Senailles Violin Sonata in E minor, Op. 4, No. 5, for an idea of his urgent style, but the even bigger news here is the presence of Senaille, whose music has not often been recorded. A commentator as early as 1738 nailed it: He had done some visiting in Italy and had brought back enough of this ultramontane taste to blend it artfully with beautiful French melody. Here Langlois de Swartes style is exquisitely relevant. The violin parts are brilliant and give the soloist lots to do, but most striking are the complex harpsichord parts, to which Senaille draws attention with sizable keyboard introductory passages. The performers catch unusual balances between the two instruments, such as in the nifty beginning of the opening movement of the Leclair Violin Sonata in F major, Op. 2, No. 2, where the violin briefly takes on an accompanimental role. Christie does indeed seem to have new energy throughout; check out the ending of the Allegro ma non troppo finale of the same Leclair sonata. The album was recorded during pandemic times in Christies Paris living room, which is actually a more sonically relevant spot than the churches that so many engineers insist on; the musicians are miked closely, but this adds to the intense atmosphere of collaboration. An extraordinary Baroque release.