The Golden Hour

• Performer(s): Lucile Boulanger (viola da gamba), Simon Pierre (baroque violin), Olivier Fortin (harpsichord)
• Producer: ALINE BLONDIAU
• Recording, editing & mastering ALINE BLONDIAU, LUCILE BOULANGER
• Recorded: Flagey (Studio 1), Bruxelles, October 2022
• Label: Alpha Classics

This album’s inspiration comes from the confluence in France of music where the gamba and violin coexist as equal partners together, with the rise of the violin (and Italian import, at least in the way music was being written) and the decline of the gamba. Thus emerges the inspiration for the album’s name, featuring works by Leclair, Boismortier, Dornel, Rebel, and Francoeur.

To the credit of the musicians, some of the works here have been adapted; the opening trio sonata by Jean-Marie Leclair from his 1730s opus 4 for two violins and bass (Leclair, of course, being a big force in assuaging Italian style into a more French fit and finish) gives one of the violin parts to the gamba. The album’s liner notes do an excellent job, I think, written in an interview style with the three musicians, for us to understand their approach in presenting this music. Often liner notes are written by a musicologist or expert on the historical side of the music, but hearing directly from all three musicians is refreshing.

Interestingly this golden hour—speaking of the time from which these pieces were composed—seems to have been centered around 1732-34, although the second piece by Leclair (also arranged) is sourced from 1753, and the Dornel and Rebel are dated 1713. The musicians cite the role Arcangelo Corelli had on pulling the violin out of the shadows and into front and center with his publication of his opus five sonatas in 1700. I remember reading that he likely had lived with these works for maybe 5 or more years, but waited to publish them to capitalize upon the nice round year of 1700. Their discussion of the Duke of Orleans being familiar with all the latest Italian music speaks to how important the publishing industry was in cultural communication. It may not explain why the language of these pieces from 1713-1753 have discernible common qualities, but I am glad our baroque friends hadn’t had streaming music. While all styles tend to evolve into something new that is considered the next new fashion, the so-called golden hour thankfully could flourish outside today’s hyperspeed world where some ideas don’t get the longview treatment they may deserve.

The fourth movement of the Boismortier piece (Sonata in D) puts the violin and gamba on equal footing, requiring careful coordination between the two instruments, not unlike the opening of the Dornel (Sonata in G min), where they play in close harmony. These two examples parlay the way these two musicians must be sensitive to one another’s volume, tone, attack, and release. It’s done exceptionally well, I think.

Dornel’s second movement features a contrapuntal dance between the instruments, which carries a whiff of Italian import. The final movement comes across more French to my ears, written as a chaconne gracieuse. This is an example where perhaps Fortin would have welcomed another bowed bass instrument to support the continuo line, but the balance achieved I think is quite nice, at times the harpsichord plays into the shadows, but listening for it became a new game I played as I enjoyed this piece. Maybe it has something to do with being written in my favorite key?

The Rebel piece (Sonata in E minor) puts the gamba in the role of basso continuo. It’s a favorite piece of mine and I was pleased to hear how strong a player Mr. Pierre is on the violin; the slow movement provides an opportunity for the gamba and violin to come together with melodic material. Boulanger and Pierre together, I think, enhance their roles together with their sensitive use of vibrato. The short slow movement (Récit portion, coupled with a gai dance) could be no better played. It reminds us how much baroque music was about stirring our emotions and this one was quite affective. The rest of this track throws a workout to the gamba player and it’s no less affective, emotionally speaking, despite being so fast. It’s a shame Rebel is known by many just for his chaos suite. His voice as a composer is one I always admire.

The Francoeur piece (Sonata in E major) presents a very interesting technique that starts in the violin (second movement: Courente) and there has to be a little bit of humor behind those notes coming together; the way the composer then tosses the line down to the gamba is fun, another attempt at indulging in contrapuntal form. They can’t each play each other’s tricks the same, but that difference, I think, highlights the differences between the soprano and tenor instruments, and how they are bowed, nicely.

Counterpoint is the highlight in the first allegro in the final work on the album, the G minor sonata by Leclair from opus 13. Here the fugue subject is tossed equally between the violin, the gamba, and the harpsichord. Love how Boulanger pulls out a nice big chord with an arpeggiated stroke. The flavor seems appropriate. Late Leclair is always a good time, and these musicians treat the material well, with grace, gravitas, and technically fast, clean articulation when required.

My disappointments with this album are very few; I’d like to have heard the opening movements of the first Leclair and the Francoeur sonatas played faster; this could be my being memory of them being played faster by other ensembles. That said, there’s nothing inappropriate about their choices, just my personal preference.

While I do like complete collections of works from one composer, I have some of those, and this album presents a buffet of works that share stylistic elements alongside a common instrumentation which of course required a little work on their part. The result? I don’t think Leclair would have minded what they did with his works, I think the results are equally entertaining and moving.

This album was a real delight.