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CD reviews
Jean-Baptiste QUENTIN, Arcangelo CORELLI: "Flute Sonatas"
Anna Besson, transverse flute;
Myriam Rignol, viola da gamba;
Jean Rondeau, harpsichord
rec: July 2022, Leuveu, Hollands College
Alpha - 1022 (© 2023) (74'32")
Liner-notes: E/D/F
Cover, track-list & booklet
Scores Corelli (arrangements and transcriptions)
Scores Quentin
Spotify
Arcangelo CORELLI (1643-1713):
Sonata III in D (after Sonata in G, op. 5,3) [4];
Sonata IV in G (after Sonata in F, op. 5,4) [4];
Sonata V in g minor, op. 5,5 [4];
Jean-Baptiste QUENTIN (c1690-c1742):
Sonata II [Livre II] (andante) [1];
Sonata III, op. 14 [3];
Sonata IV [Livre III] [2];
Sonata VI [Livre III] [2];
Sonata X [Livre II] (largo) [1];
Sonata X [Livre III] (largo) [2]
Sources:
Jean-Baptiste Quentin, [1] Sonates a violon seul & basse-continüe, Livre IIme, 1726;
[2] Sonates a violon seul et basse-continüe, Livre IIIeme, 1728;
[3] Sonates a violon seul, flute et basse continue, op. 14, [n.d.];
[4] anon, Iere Partie du Cinquième Oeuvre de Corelli, ajustée à la flûte traversiere avec la Baße, [1754]
Few composers in history have been so influential as Arcangelo Corelli. His concerti grossi were the models for composers of his own and of later generations, he set the standard for the trio sonata, and especially his twelve sonatas for violin and basso continuo that were published in 1700 as his opus 5 earned wide admiration across Europe. The latter were frequently reprinted in the course of the 18th century, either in their original form or in some kind of adaptation. Francesco Geminiani, for instance, turned them into concerti grossi, and in England, where he lived for most of his life, editions for recorder came from the press. That is not surprising, as that was the favourite instrument of amateurs, especially in England.
The recording under review here is inspired by an edition of the first six sonatas from Corelli's Op. 5, which was published in the late 1730s in Paris. Both the place and the time of publication explain that they were not adapted for the recorder, but rather the transverse flute. The latter instrument was in the process of overshadowing the recorder, also among amateurs. A substantial amount of chamber music for the flute was produced by French composers during the first half of the 18th century. The publication of these sonatas also attest to the growing popularity of Corelli, and of Italian music in general, in France. During the 17th century Italian music was not appreciated, at least not officially, and there were only a few violinist, who had the skills to play Italian music. That changed after 1700, when French composers started to embrace the Italian style in their own compositions, and music by Italian composers was played in France, for instance at the Concert Spirituel.
The growing popularity of the transverse flute not only explains the publication of the above-mentioned edition of sonatas by Corelli, but also that French composers sometimes published sonatas which could be played both on the violin and on the flute. In his books of violin sonatas, Jean-Marie Leclair, one of the main composers of music for the violin, who was strongly influenced by the Italian style, included several sonatas that were also playable on the flute. The present disc offers a few sonatas from the Op. 14 by Jean-Baptiste Quentin 'le Jeune'; this set comprises six sonatas for violin or flute. Anna Besson also selected some sonatas - or single movements - from other collections by Quentin, which apparently are playable on the flute, even though the composer did not indicate it. Unfortunately, she does not discuss that part of the programme in her liner-notes.
She does discuss the way the sonatas by Corelli are adapted. In some cases a transposition was needed, to make a sonata playable on the flute or at least more comfortable to play. A particular problem are the passages with double-stopping. In such cases two solutions are chosen: either only the upper melodic notes are included or the notes of a chord are given in linear order; in the latter case the note-values are halved in order to keep the tempo.
Anna Besson also mentions the issue of ornamentation. Corelli did not include ornamentation; according to the custom of the time, adding embellishments was left to the performer. However, some editions circulated with ornamented versions of slow movements, which sometimes were claimed to be of Corelli's making. The issue of ornamentation was one thing where the Italian style differed from the French. The Italians liked to add many and often virtuosic embellishments. Leclair, despite his admiration of the Italian style, warned against any exaggeration. "All those who wish to succeed in playing these works according to the taste of the author must strive to find the character of each piece, as well as the right tempo and tone colour that suit the different pieces. An important point, which cannot be overemphasized, is to avoid the jumble of notes that are added to the melodic and expressive passages but which serve only to desfigure them." Besson quotes Johann Joachim Quantz, who had this to say about the issue: "If someone tried to embellish a slow movement composed in the French style with the many arbitrary ornaments of an Italian Adagio, or conversely, to perform an Italian Adagio with modest plainness, merely adding a few French-style mordents, then the French composition would be totally ruined, and the Italian movement would become thoroughly dry and insipid. Both would end up pleasing neither the French nor the Italians." She takes this advise to heart in her performances.
There are quite a number of discs with Corelli's sonatas in contemporary adaptations on the market, but I can't remember having heard them in versions for the transverse flute before. That makes this disc an interesting contribution to our image of the reception and appreciation of his sonatas across Europe. The sonatas performed here are of good quality and do Corelli's sonatas as much justice as is possible on another instrument than for which they were conceived. The Italian influence in Quentin's sonatas is obvious, but at the same time they are very French; Quentin was one of the representatives of the goûts réünis, the mixture of the French and the Italian style.
The performances by Anna Besson are outstanding: she produces a beautiful tone, her ornamentation is technically immaculate and stylish, and her treatment of dynamics nicely differentiated. She receives excellent support from Myriam Rignol and Jean Rondeau. This disc is a winner in every respect: an ideal combination of an interesting programme, music of high quality and top-class performances.
Johan van Veen (© 2024)