It was in Aix-en-Provence that Amandine Beyer began studying music at the age of four: recorder, then violin.Īfter completing her studies of modern violin at the Paris Conservatory and having written a dissertation on Karlheinz Stockhausen, she ultimately discovered that her bliss was Early Music. While the Baroque is the primary concern, each also has resurrected works from later periods if there is a sense of their being relatively unknown or ripe for reinterpretation. Each has formed a performing ensemble, Gli Incogniti by Beyer and Rousset’s Les Talens Lyriques for this purpose. The recording is clean with a touch of resonance.Amandine Beyer and Christophe Rousset are both accomplished French musicians who have devoted much of their careers to promoting music from the Baroque period, much of it not well known. Pisendel’s Sonata is extrovert and entertaining, with some cheerfully exhibitionist double-stopping. The central movements of the E major are like courtly dances. There is articulate lyricism in the Largo of the C major Sonata, and profound meditation in the Adagio of the G minor. In the great Chaconne there is a sense of organic growth and increasing purpose and energy before it relaxes into the warmth, and occasional drama, of the D major section. The Allemande, Courante and Gigue of the D minor Partita all sparkle, their contours fluidly shaped. The Andante is masterly, with its beautifully moulded melody and steady pulsing quaver accompaniment. The opening grave of the A minor Sonata is lucid and intimate, and the great Fugue, like its cousins in the other two sonatas, has great shape and purpose maintained through its huge span, with exemplary clarity of counterpoint and balancing of parts. This general lightness of touch persists through the set. The Sarabande is meditative and quiet, the triple- and quadruple-stops rippling nicely – there is no chordal crunching here. After the similarly unhurried Double the Courante is deft and fleet, but nonetheless using a considerable dynamic range. It is spacious and measured, with much subtlety of phrasing contained within its gentle simplicity. Pisendel: Sonata for Solo ViolinĬatalogue number: ALPHA CLASSICS ALPHA610įor some reason this set begins with the First Partita rather than the usual First Sonata, in which the opening Allemande displays many of the qualities of what follows. Works: Bach: Sonatas and Partitas for solo violin BWV1001–1006. Description: Classy, light take on sonatas by Bach and his contemporary countryman
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