Chiara Banchini, John Holloway - Leclair: Sonatas for 2 Violins Op.3 & Op.12 (1998)

These two discs contain Leclair's 12 sonatas for two unaccompanied violins en duo. He produced them in two sets of six, the earlier one, Op. 3, dating from 1730, the later one from 1747-9. Barely a handful have previously been recorded, so these new issues make an important addition to the baroque catalogue. Leclair more than any of his French contemporaries implemented the technical developments in violin playing which were taking place in Italy in the hands of the post-Corelli generation. As with his 12 fine concertos for solo violin and strings so, too, in these sonatas do we find Leclair's own distinctive contribution to the gouts reunis, an often deliciously subtle blend of Italian and French styles.
What may well strike listeners yet unfamiliar with this music is its expressive pungency which can be felt above all in slow movements; many of these have a pronounced French bias, leaning towards the Lullian court dance, but others such as the Adagio of the Sonata in C major (Op. 3) are more abstract and though inspired by Italian cantabile writing have distinctive and affecting melodic contours. The Largo of the Sonata in E major (Op. 12) on the other hand is unashamedly and lyrically Italian. Harmonically some of the movements are fairly conventional but many more contain a richness and invention at once arresting and satisfying. Grandeur and virtuosity alternate with a haunting lyricism of great purity.
Chiara Banchini and John Holloway—one of the discs and its booklet are misleading over the division of labour—bring Leclair's music to life with sensibility and stylistic assurance. Their individual sounds are well matched and their musical rapport warmly sympathetic. Dynamics are shaded gently and there is not a hint either of aggressive bowing or glib virtuosity. Intonation is secure for the most part though; perhaps almost inevitably in demanding repertory of this kind there are moments of insecurity.
Sensibly, these discs are available separately, enabling prospective buyers to become acquainted with the music one step at a time. Recorded sound is ideal in each case, intimate without being too close and with a pleasing domestic resonance. Readers may like to make a careful note of the key in which each sonata is written since Erato fail to make any reference whatsoever to this important matter either on the discs, the boxes or the booklets. That apart, a fine issue.'