musica Dei donum
CD reviews
Music for violin(s) from 18th-century France
[I] "Les violons des Lumières"
Les Plaisirs du Parnasse
rec: July 20234, Vindelle, Les Modillons
Ricercar - RIC 461 (© 2024) (71'44")
Liner-notes: E/F
Cover, track-list & booklet
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Jacques AUBERT (1689-1753):
Sonata No. 6 in D;
Charles-Antoine BRANCHE (1722-1779):
Sonata No. 12 in b minor;
Antoine DAUVERGNE (1713-1797):
Sonata in c minor, op. 2,6;
Jean-Pierre GUIGNON (1702-1774):
Sonata in c minor, op. 1,9;
Jean-Joseph Cassanéa DE MONDONVILLE (1711-1772):
Sonata in a minor, op. 1,6;
Jean-Baptiste QUENTIN (1690-1742):
Sonata No. 10 in d minor
Sources:
Jean-Baptiste Quentin, Sonates a Violon seul, et Basse-Continue, Livre IIIème, 1728;
Jean-Joseph Cassanéa de Mondonville, Sonates a violon seul et basse continue, op. 1, 1733;
Jean-Pierre Guignon, XII Sonate a violino solo e basso, op. 1, 1737;
Jacques Aubert, Sonates a Violon seul et basse continue, Livre V, 1739;
Antoine Dauvergne, Sonates à violon seul avec la basse-continue, op. 2, 1739;
Charles-Antoine Branche, Premier Livre de Sonates a Violon Seul et Basse, 1748
David Plantier, violin;
Annabelle Luis, cello;
Ludovic Coutineau, double bass;
Violaine Cochard, harpsichord
[II] "La Favorite - Les maîtres de musique"
Jocelyne Cuiller, harpsichord;
Daniel Cuiller, violin
rec: Oct 2 - 4, 2021, St Martin de Ré, Temple protestante
Mirare - MIR606 (© 2022) (60'16")
Liner-notes: E/F
Cover & track-list
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Jean-Baptiste CARDONNE (1730-1792):
Sonata in c minor, op. 3,4 'La Favorite';
Sonata in f minor, op. 3,6;
Armand-Louis COUPERIN (1727-1789):
Sonata in F, op. 2,3;
Jacques DUPHLY (1715-1789):
Troisième livre de pièces de clavecin (ouverture; La de May; La Madin);
Jean-Jacques Cassanéa DE MONDONVILLE (1711-1772):
Sonata in F, op. 4,5 (La Cacia);
Johann SCHOBERT (1735-1767):
Sonata in d minor, op. 14,4
Sources:
Johann Schobert, Sonates pour le clavecin, op. 14, [n.d.];
Jean-Jacques Cassanéa de Mondonville, Les sons harmoniques Sonates a violon seul avec la basse continue, op. 4, 1735;
Jacques Duphly, Troisième livre de pièces de clavecin, 1756;
Jean-Baptiste Cardonne, Premier Livre de Sonates pour le Clavecin avec accompagnement de Violon obligé, op. 3, 1765;
Armand-Louis Couperin, Sonates en Pièces de Clavecin avec accompagnement de Violon ad Libitum, op. 2, 1765
[III] Jacques-Philippe LAMONINARY (1707 - 1802): "6 Trio sonatas Op. 1"
Hemiola
rec: Nov 2021, Arras, Temple protestant
Passacaille - PAS 1136 (© 2023) (57'53")
Liner-notes: E/D/F
Cover & track-list
Scores
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Sonata in g minor, op. 1,1;
Sonata in a minor, op. 1,2;
Sonata in B flat, op. 1,3;
Sonata in c minor, op. 1,4;
Sonata in D, op. 1,5;
Sonata in E, op. 1,6
Source:
Six Sonates pour deux violons avec la basse, 1749
Emmanuel Resche-Caserta, Patrizio Germone, violin;
Claire Lamquet-Comtet, cello;
Takahisa Aida, harpsichord, organ
When in the early 18th century the French opened up to the Italian style, that typical product of it, the violin, was quickly gaining in popularity. More and more violinists were able to play technically demanding sonatas, and composers started to write music for it, often under the influence of the Italian style. The best-known exponent of this development was Jean-Marie Leclair, but he was not the only one, and not even the first who composed sonatas and concertos for violin. Now that his complete oeuvre in these genres is available on disc, often in more than one recording, it is nice to notice that performers have turned to what was written by his peers, including composers of the previous and of the next generation.
The first disc focuses on music of the late baroque period. All these sonatas are scored for violin and basso continuo. In nearly every piece the composer makes use of the technique of double stopping, something that French violinists of the 17th century did not master. Most of the composers that David Plantier selected for his recording, are known by name, but sometimes for other works than music for the violin, whereas others are badly represented in the catalogue.
Jean-Baptiste Quentin is the earliest composer on the programme. Little is known about him, but he was a violinist at the Paris Opéra in 1718. His oeuvre is considerable: Seventeen sets with sonatas were published in Paris between 1724 and around 1740. Stylistically his music shows the influence of the Italian style. It is telling that the Sonata in d minor from his third book of 1728 consists of four movements which all have an Italian title. It opens with a kind of tombeau, or Lamento, as Plantier calls it in his liner-notes. The last movement, with the title of grasioso [sic], has the form of a rondeau, which was very popular in France at the time.
Joseph Cassanéa de Mondonville has become best-known for his Op. 3, a set of sonatas for harpsichord and violin - the first in France with a concertante part for the harpsichord. He was from Narbonne; In 1731 he settled in Paris and in 1734 he made his debut at the Concert Spirituel as violinist. In the first half of the 1730's his first two collections with chamber music were published. In 1739 he got his first important job: he was appointed violinist du Chambre et de la Chapelle du Roy. In 1748 he became co-director of the Concert Spirituel, and - after the death of Pancrace Royer in 1755 - director. In this capacity he opened the ears of his audiences for the latest music, like organ concertos by Balbastre and symphonies by Gossec, but also music from abroad, like works by Wagenseil and Holzbauer. In his Sonata in a minor, op. 1,6, he makes extensively use of double stopping, in the third movement, a largo, even from start to finish.
Jean-Pierre Guignon was born in Turin in Italy and his original name was Giovanni Pietro Guignone. Here lived the famous violin virtuoso Giovanni Battista Somis, who became his teacher. Somis also was the teacher of Leclair, and it is not impossible that the two have met there. Guignone settled in Paris in 1725, and took the name of Guignon. He played at the Concert Spirituel and was introduced to the royal court. He and Leclair were appointed as ordinaire de la musique du roy in 1733. Their cooperation was not unproblematic, and their rivalry culminated into a quarrel about the leadership of the royal orchestra. They agreed that they would alternate every month, but after one month Leclair resigned as he was not willing to step aside for Guignon. It was Guignon who introduced Vivaldi's Quattro Stagioni to the Parisian audiences. His oeuvre includes two sets of violin sonatas. The Sonata in c minor, op. 1,9 opens with an andante, followed by three allegros. In the first movement Guignon mostly explores the lower end of the violin's range. The second ends with a fugato, and the third movement includes syncopated rhythms.
Two sonatas are taken from collections that were published in 1739. The Sonata in D is part of the fifth and last book of Jacques Aubert. He probably was the son of Jean Aubert, a member of the 24 Violons du Roi. Like Leclair he was educated as a dancing master and a violinist. He wrote ballet music, and in 1719 he published his first book of violin sonatas. From 1727 to 1746 he was a member of the 24 Violons du Roi; in 1728 he also joined the Académie Royale de Musique and was appointed first violinist in the orchestra of the Opéra, a position he held for the next 24 years. In 1729 he made his debut at the Concert Spirituel and regularly performed there until 1740. His sonata performed here has marked theatrical traits, which not only shows the influence of the Italian style, but also that of Rameau.
Antoine Dauvergne published his Op. 2 also in 1739. He was educated as a violinist and studied composition with Rameau. In 1739 he was appointed violinist in the Chambre du Roi and joined the orchestra of the Opéra in 1744. He also acted as composition teacher to the royal children. He composed a considerable number of works for the stage; the intermède Les Troqueurs has become his best-known work in modern times. In addition his oeuvre includes a number of grands motets and some collections of instrumental music. One of the latter is a set of twelve sonatas for violin and basso continuo op. 2, which was printed in 1742. It is his only collection of this kind. The Sonata in c minor is a remarkable work, as it is pointing in the direction of the early classical style. It opens with a movement called grave e staccato, which has an almost orchestral character, especially if played forte, as it is here, which is not indicated in the score, but which seems entirely right. There is frequent use of double stopping, except in the last movement.
The programme closes with the latest sonata, taken from the first book of Charles-Antoine Branche, about whom very little is known. The only extant work of his pen is a set of twelve sonatas for violin and basso continuo, which was published in 1748. At the title page he calls himself first violin of the Académie française. The Sonata in b minor shows the influence of the Italian style, and particularly of Giuseppe Tartini. It is in three movements: largo, allegro, allegro. The largo is based on a basso ostinato, whereas the third movement is a rondeau.
This disc offers a fascinating and colourful portrait of the world of violin music from the first half of the 18th century in France. What we get here is only a small selection of what is available and is still waiting to be rediscovered. On this site you will find more reviews of discs with French violin sonatas, whose programmes are largely different. David Plantier is a brilliant performer who knows how to reveal the features and qualities of these sonatas. His performances emphasize the contrasts in character between the movements and the sonatas, for instance through the choice of tempo. Sometimes he goes a little overboard: the opening movement of Aubert's sonata is played allegro, as indicated, but Plantier seems to overlook the addition "ma non tropo" [sic]. The basso continuo could have been more clearly noticeable. Even so, this is a great disc, which no lover of violin music should miss.
With the second disc we move to a different stage in the development of violin music in France. The harpsichord has emancipated from an accompanying instrument to a leading role. Around the mid-18th century sonatas for keyboard with an accompaniment of other instruments, especially the violin, were becoming increasingly popular. The role of the violin was different: in some sonatas it could be added ad libitum, whereas in other sonatas it played an obbligato role.
Daniel and Jocelyne Cuiller have selected sonatas which were published between 1738 and 1766. These pieces were mostly meant as divertissement, which does not imply that they are simple, let alone superficial.
The earliest piece in the programme is also the exception as far as the scoring is concerned. The Sonata in F is taken from the Op. 4 by Mondonville, a collection of six sonatas for violin and basso continuo. Given the nature of the programme it had been more logical to take a sonata from the Op. 3, mentioned above. Not only was that collection the first to be published in France for the scoring of harpsichord and violin, it was also used as a model, for instance by Jean-Philippe Rameau in his Pièces de clavecin en concert. However, the performers may have considered that the Op. 3 is rather well-known, whereas the sonatas Op. 4 are seldom performed. Moreover, this way the change in style can be demonstrated. We only get one movement, which portrays the hunt. This reflects the fashion of the time: the interest in life at the countryside, which was frequently portrayed in music (musique champêtre). It is remarkable how Mondonville depicts a complete hunting scene in merely three minutes.
As mentioned, in a part of the repertoire for harpsichord and violin, the latter's role is ad libitum. Jacques Duphly's third book of Pièces de clavecin includes six pieces which can be played with harpsichord alone or with the accompaniment of a violin. This either duplicates the right hand or adds some ornamentations and imitative phrases. Three of these pieces are included here.
Two collections from which pieces are taken were published in the same year: 1765. Armand-Louis Couperin was a grandson of François Couperin, the brother of Louis, the harpsichord master. He was active as organist and harpsichordist. His oeuvre is rather small, consisting of a few vocal pieces and works for keyboard. It comprises only one collection of chamber music: trio sonatas for harpsichord, violin and cello. The six Sonates en pièces de clavecin avec accompagnement de violon ad libitum are his Op. 2. The Sonata in F has three movements; the second is notable for its adventurous use of harmony. As so many music of the time, it closes with a minuet.
Jean-Baptiste Cardonne was educated as a harpsichordist and a singer. He was a child prodigy: at the age of 13 a motet from his pen was performed before the king. He had close ties to the royal children, and the set of six sonatas, from which the two sonatas on this disc are taken, was dedicated to Adélaïde. The title mentions that the violin has an obbligato role here; however, it usually plays with the right hand of the harpsichord. The Sonata IV bears the title La Favorite; it is not explained in the liner-notes (which are rather economical anyway). The two outer movements, the second of which is a pair of airs, includes double stopping. Repeated notes in violin and harpsichord are a feature of the first movement. The Sonata VI is most notable for its stubborn harmonies in the first movement. The next movement is very different, reflecting the indication andante amoroso. The last movement is a pair of minuets.
The latest work is from the pen of Johann (or Jean) Schobert, who seems to have been from Silesia. In 1760/61 he settled in Paris, where he soon was regarded as one of the most brilliant keyboard players. He was a quite original composer, and had a strong influence on the young Mozart. In his music sonatas for keyboard with additional instrument take a major place. Their role is mostly ad libitum, and that also goes for the six sonatas Op. 14, probably dating from 1766, from which here the fourth is played.
Jocelyne and Daniel Cuiller have recorded an interesting programme, which documents the development of an important and fashionable genre in France from the 1740s onwards. The variety within this repertoire comes well to the fore here, and Daniel Cuiller's violin is a substantial addition to the keyboard parts, also in the ad libitum pieces, also thanks to his bold playing. Such parts were not indicated for no reason. Sometimes I felt that the violin had too much presence, threatening to overshadow the right hand of the harpsichord. However, this is a minor issue. Both artists deliver excellent performances, and this is another major contribution to the discography of this kind of repertoire.
With the last disc we turn to a different genre: the trio sonata. It is a typical baroque genre, which came into existence in the second half of the 17th century and remained popular, especially among amateurs, until the mid-18th century. At that time the role of the keyboard changed, as we have just seen. The trio sonata gave way to the trio for keyboard with two other instruments: one treble and one bass instrument. The French composer Jacques-Philippe Lamoninary published three sets of trio sonatas in 1749 and 1755 respectively; they are late specimens of the genre. They are - as most trio sonatas - scored for two violins and basso continuo.
It may well be the first time that any music by Lamoninary appears on disc. The article on this composer in New Grove takes only eight lines. The liner-notes to the recording of the Op. 1 includes some additional information. He was born in French Hainaut and worked for most of his life in Valenciennes. The fact that he never was active in Paris is one of the reasons why he is hardly known: until the French Revolution, Paris (or Versailles) was the place to be, and nearly each composer whose works are performed in our time, has been there, even if he was from the province.
Valenciennes was not a minor place as far as music is concerned. The Chapelle Saint-Pierre, which Lamoninary joined as an apprentice at the age of 16, took a central place in cultural life. One of the members of its instrumental ensemble was Martin Berteau, the founder of the French cello school.
The fact that Lamoninary made a career outside Paris does not indicate that he was not aware of what was going on elsewhere. The fact that he contributed to a basically Italian genre attests to that. It does not surprise that all the movements of his trio sonatas Op. 1 bear Italian titles. The three sets of trio sonatas are dedicated to the Marquis de Cernay (one of the early coalmining entrepreneurs in France), who gave him financial support.
Claire Lamquet, in her liner-notes, mentions several influences which are notable in Lamoninary's trio sonatas. One the one hand the oeuvre of Tartini, but also that of Rameau, on the other hand earlier composers of music for the violin, such as Mondonville and Dauvergne - two composers we have met on the previous discs.
Each sonata comprises three movements. The first is always an allegro, sometimes with the addition ma non tropo [sic]. In four of the sonatas the middle movement is an andante. The second movement of the Sonata No. 4 is an adagio; it is the most expressive movement of the set. The second movement of the Sonata No. 3 is marked minuetto amoroso, which in four other sonatas is the last movement. The addition amoroso is a token of the congeniality between Lamoninary and Tartini.
These trio sonatas are exponents of the galant style. They are meant as entertainment. That is no disparagement: large amounts of music, often of high quality, have been written as such, and Lamoninary's sonatas are undoubtedly fine pieces. Their qualities can only come forward if they are taken seriously and played at the highest level. That is the case here. Hemiola is an outstanding ensemble, whose members deliver technically immaculate performances, and also show a thorough stylistic understanding of the material. I like the way they realize the rhythmic pulse, and the differentiation between good and bad notes. I have very much enjoyed this recording and I hope that more of Lamoninary is going to be recorded.
Johan van Veen (© 2025)
Relevant links:
David Plantier
Hemiola