(Mrs.) Philharmonica - Le Consort
A Tapestry of Baroque Delights: Le Consort's "Philharmonica"
- Label: Alpha Classics
- Performers: Le Consort (Théotime Langlois de Swarte, violin; Sophie de Barndonnèche, violin; Hanna Salzenstein, cello, Justin Taylor, harpsichord; Louise Ayrton, violin.
- Recording: Christ Church, Paris, February 2023
- Engineer: Hugues Deschaux
This captivating album by Le Consort, a rising French period instrument ensemble, takes us on a journey through the vibrant London music scene at the turn of the 18th century. Here, established composers like Henry Purcell (1659-1695) intermingle with the intriguing Mrs. Philharmonica, a mysterious figure whose music appears on record for the first time alongside her more famous counterparts.
A Historical Soundscape
The late 17th and early 18th centuries in London witnessed a fascinating exchange of musical ideas. Italian Baroque masters like Arcangelo Corelli (1653-1713) were all the rage, their influence weaving its way into the works of English composers. Purcell, for instance, while undoubtedly possessing a distinct English voice, readily incorporated elements of Italianate style into his compositions.
Le Consort's Exquisite Delivery
Le Consort, led by violinist Théotime Langlois de Swarte, delivers nuanced and engaging performances. Their take on Purcell's celebrated Sonata in G minor (Z. 807) is a case in point. While avoiding excessive dynamic contrasts, they imbue the ornamentation with a distinctly Italian flair, offering a fresh take on this beloved piece.
Unearthing Mrs. Philharmonica
The album's real revelation is the music of Mrs. Philharmonica. The opening trio sonata in G minor immediately evokes Corelli's harmonic language. However, harpsichordist Justin Taylor's creative realization adds a unique touch, incorporating the bright timbre of the virginals alongside the more familiar harpsichord. The second movement, again in the Corellian mold, presents a bolder theme than anything the Italian master himself wrote, with the violin parts soaring into dazzling high registers. The final movement, a charming dance, possesses a distinct character while still retaining the spirit of Corelli's gigues. Le Consort effectively conveys the drama within the piece.
A Blend of Styles
Niccola Matteis (c. 1600-1664), an Italian violinist who spent much of his career in England, also features on the album. His C minor suite is a delightful example of the 17th-century idiom, with moments of unexpected humor as Matteis shifts to a major key. Mrs. Philharmonica's C minor sonata further exemplifies the Italian influence, yet Taylor's harpsichord choices imbue it with an English flavor. This delightful clash of styles offers a window into the dynamic London musical scene, where English composers eagerly embraced Italian innovations.
Hidden Gems and Technical Mastery
The B minor sonata by Mrs. Philharmonica showcases the ensemble's exquisite balance. Here, both violins display remarkable agility in their synchronized passages, a marked improvement from some previous recordings where de Swarte's dominance could be an issue. The music itself reveals a profound grasp of counterpoint, reminiscent of Corelli's later works.
Aural Considerations
The album's recording, while striving for intimacy with the performers, presents a slight challenge. The close-up perspective on the violins occasionally yields surprising moments of reverb during faster movements. Christ Church, Paris, with its inherent acoustics, might not be the ideal environment for this chamber music. However, the engineer, Hugues Deschaux, deserves credit for achieving a commendable balance, minimizing the church's effect without compromising the immediacy of the performance.
A Tapestry Woven with Care
Despite featuring "disparate voices," as the album title suggests, "Philharmonica" forms a cohesive whole, united by the theme of Italian influence on the London Baroque scene. The selection of music throughout is consistently captivating, and the performances, while not always striving for extreme emotional depth, are guided by a clear artistic vision that held my attention from beginning to end. This album deserves a place alongside Le Consort's highly-regarded recording of Dandrieu and Corelli.
