Notes and Editorial Reviews
LE TEMPLE DU GOÛT
Rubato Appassionato (period instruments)
MA 75 (62:05)
_ l’ainé Suite in b.
Partite de follia
Think of a Baroque trio sonata: for flute, harpsichord, cello? For violin, harpsichord, gamba? Whatever combination you imagine, it will probably include a harpsichord. In a few instances, a small organ, or in an extreme case, a theorbo. But the fact is that the harpsichord is the instrument most inextricably associated to the 18th century. So I confess that my first reaction to “Le Temple du Goût” was one of perplexity. How do you record a complete CD of trio sonatas without a keyboard? And if you do so, won’t the result be lacking in color variation—or to put it mildly, boring?
No, not at all. This creative group managed to achieve a result that is more than just curious. This is a beautiful CD, with excellent interpretations from all involved, full of insightful ideas, which get better with repeated listenings. The lack of a harpsichord could have been the group’s downfall. The fact is that, among its many functions, the harpsichord serves as a sort of super-glue, “sticking” the voices together, filling up the musical voids, disguising minor imperfections. To brave the microphones without this gentle veil requires audacity and even a degree of craziness.
faces the challenge and comes out of it with flying colors. Not a small deed, considering that one of the three instruments is the recorder, which has a limited palette. This speaks much for Antonia Tejeda, who plays with exact articulation and an ample dose of lyricism, and with the assurance of a world famous violinist holding a Stradivarius. Eyal Streett (Baroque bassoon) and Sasha Agranov (cello) are equally fabulous players, and their interpretation of the Boismortier duet is alternatively serene, moving, and contagiously enthusiastic. The introduction of a traditional Catalan drum in the piece by Philidor is an additional present to the listener, and fits the spirit of this joyful, intriguing gem.
Ah, and lest I forget, the visual presentation is also original and appealing to the eye, with excellent photographs of the musicians, and simple but effective program notes.
This is a CD for Baroque music buffs, for people interested in musical oddities, for musicians interested in novel ways of interpreting well-known pieces. Quite simply, a charming release, capable of pleasing just about anyone, including this grumpy reviewer.
FANFARE: Laura Rónai
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