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Charles-François-Grégoire de LA FERTÉ (fl 1705 - 1745): Premier Livre de Sonates pour le violon et la basse, 1707
[I] "Premier Livre de Sonates pour le violon et la basse dédié a S.A.R. Mons. Le Duc d'Orléans, 1707 - Vol. I"
La Vertuosa Compagnia de' Musici di Roma
rec: Jan 2021, Tivoli (Roma), Jungle Music Factory
Da Vinci Classics - C00541 (© 2021) (45'59")
Liner-notes: E
Cover & track-list
Spotify
Sonate I;
Sonate II;
Sonate III;
Sonate IV;
Sonate V;
Sonate VI
(*) Keys are not mentioned
[II] "Premier Livre de Sonates pour le violon et la basse dédié a S.A.R. Mons. Le Duc d'Orléans, 1707 - Vol. II"
La Vertuosa Compagnia de' Musici di Roma
rec: Sept 28 - 30, 2022, Tivoli (Roma), Jungle Music Factory
Da Vinci Classics - C00835 (© 2021) (50'00")
Liner-notes: E
Cover & track-list
Spotify
Sonate VII;
Sonata VIII;
Sonate IX;
Sonate X;
Sonate XI;
Sonate XII
(*) Keys are not mentioned
Valerio Losito, violin;
Maurizio Lopa, viola da gamba;
Emanuela Pietrocini, harpsichord
Scores
For performers it must be pretty frustrating to play really good music, while knowing next to nothing about the composer. Charles-François-Grégoire de La Ferté is a case in point. Apparently he has left nothing more than the twelve sonatas for violin and basso continuo which were published in 1707. However, it is not known when and where he was born, with whom he studied the violin and whether he was a composer of any reputation.
Fortunately, the printed edition does give us some information. First, it is interesting that the sonatas are dedicated to Philippe, Duke of Orléans, who from 1715 to 1723 was to be the regent of France, and was a great lover of music, especially of Italian music, which for a long time was - at least officially - not appreciated in France. The dedicatory inserted between the title page and the sonata is written in La Ferté's own hand, and says that he was inspired by the Duke to compose and perform these sonatas. This suggests that they knew each other personally.
He seems to have stayed rather close to the court, as in a document from 1722 La Ferté is mentioned as violinist in the Vingt-quatre violons du Roy, the king's orchestra. There he was the colleague of better-known performers and composers, such as Jean-Fery Rebel and François Duval. It is also known that La Ferté played other instruments: the mute cornett and the serpent.
In the late 17th century several French composers turned to the violin and the sonata - two exponents of the Italian style. The violin was played in France, but nearly exclusively in the opera orchestra and in dance music. Violin technique was not very developed: few French violinists may have been able to play Italian music. Among the early composers for the violin were François Couperin (but not under his own name) and Elisabeth Jacquet de La Guerre. La Ferté has also to be ranked among the first composers for the violin. In 1707, when his sonatas were published, there was a growing openness towards Italian influences. However, it would take some time before the violin acted in a solo role in the chamber music at the court.
La Ferté's sonatas are influenced by the Italian style, but overall they are still very French. The character indications are exclusively in French: gracieusement, vivement, lentement. Such indications are sometimes connected to a particular dance, such as allemande, gavotte, sarabande. In the entire set there is no single movement with a tempo indication in Italian, like allegro or adagio. The number of movements varies: some are in three, others in four. Whereas in some sonatas the movements are clearly separated, in other sonatas they follow each other almost attacca.
The twelve sonatas can be divided into two halves. The liner-notes suggest a distance in the time of composition. The first six, probably dating from the late 17th century, are strictly scored for violin and basso continuo. The French character of these pieces find their most prominent expression in the Sonate VI, which closes with a long chaconne. In the second half, which may have been written shortly before publication, the bass starts to play a more prominent role. That is especially obvious in the Sonate XI, whereas in the last sonata the two staves make place for three: the middle stave is given to the string bass - at the time that was still the viola da gamba - which has a récit de basse. It lends this sonata the character of a trio sonata - a very Italian genre.
The second half also shows an advancement in technique. The Sonate XI is the first - and the only one - which includes double stopping. At the time that may have been beyond the capabilities of amateurs, and even quite some professional players. It gives us a clue about the composer's own technical skills.
It would be a shame if performers would stay away from playing music by a composer because they know very little about his identity. That does not tell us anything about the quality of what he may have left. That is very obvious here. These twelve sonatas are excellent stuff, and measure up to what was written by better-known contemporaries in France. This set of two discs is a great addition to the discography, and should encourage other players to turn to these pieces which are available in a facsimile at the Petrucci Music Library. The performances by the Italian ensemble La Vertuosa Compagnia de' Musici di Roma are exemplary. Valerio Losito does everything right: he plays with just enough freedom to reveal the true qualities of these sonatas. His articulation is excellent and he makes a marked distinction between good and bad notes with agogical means and through dynamic differences. Maurizio Lopa and Emanuela Pietrocini deliver the best possible support, harmonically and rhythmically. The former plays the obbligato part in the last sonata with verve and passion.
Johan van Veen (© 2024)
Relevant links:
La Vertuosa Compagnia de' Musici di Roma