Octavie Dostaler-Lalonde, Artem Belogurov, Victor García García - From Mannheim to Berlin - Sonatas for Violoncello Piccolo (2023)

Tracklist

01. Sonata a 2 cembalo Obligato e violoncello in C Major: I. Allegretto
02. Sonata a 2 cembalo Obligato e violoncello in C Major: II. Adagio
03. Sonata a 2 cembalo Obligato e violoncello in C Major: III. Allegro
04. Sonata in D Major for cello and basso: I. Andante
05. Sonata in D Major for cello and basso: II. Allegro
06. Sonata in D Major for cello and basso: III. Allegretto
07. Sonate pour le violoncelle et la basse continue in A Major Op. 5 No. 2: I. Allego
08. Sonate pour le violoncelle et la basse continue in A Major Op. 5 No. 2: II. Adagio
09. Sonate pour le violoncelle et la basse continue in A Major Op. 5 No. 2: III. Variatione
10. Sonate pour le violoncelle et la basse continue in A Major Op. 5 No. 2: I. Largo
11. Sonate pour le violoncelle et la basse continue in A Major Op. 5 No. 2: II. Allegro di molto
12. Sonate pour le violoncelle et la basse continue in A Major Op. 5 No. 2: III. Tempo di giusto
13. Sonata in G major for cello and basso: I. Andante Adagio
14. Sonata in G major for cello and basso: II. Allegro
15. Sonata in G major for cello and basso: III. Allegretto
16. Sonata for cello and fortepiano in A major: I. Allegro
17. Sonata for cello and fortepiano in A major: II. Larghetto
18. Sonata for cello and fortepiano in A major: III. Rondo Allegretto



Octavie Dostaler-Lalonde: In 2018, I acquired a beautiful Baroque cello labeled J. M. Alban, fecit 17… a Graz. The instrument is of a smaller size than today’s standard cello, and the sound is silky, malleable and rich. I had heard of the existence of four-string violoncello piccolos (tuned G-d-a-e’) during the 17th and 18th centuries, and soon I decided to try this tuning on my small 18th-century cello. The result was impressive: the instrument’s tone became bright, crystalline and colourful, with an enhanced singing quality on the top string. This new voice of the Alban was an exciting discovery, and I set my mind to recording a full programme featuring my four-string violoncello piccolo.

I first tried it in a lovely sonata for violoncello and continuo by Georg Czarth (which appears on this album), and found that the cello’s tone displayed sweetness and elegance perfectly suited to German Galant music. I selected a number of works where the compass fitted this tuning, and narrowed the lot down after initial reading sessions with Artem Belogurov. I wanted to offer space on this album for his expressive playing and his Stein fortepiano, a copy made by Gerard Tuinman, so I included two pieces for obbligato cello and fortepiano, where the piano has a central role.

The Stein has an action with hammers made of uncovered wooden rings, instead of the leather-covered hammers more commonly heard today: when wooden hammers strike the metal strings directly, they produce a uniquely brilliant and sparkling tone in forte passages, and a gentle cantabile sound when played softly. By engaging the moderator (a piece of felt that lies between the strings and the hammers), Artem introduces an entirely contrasting sound world, perfectly suited for adagios and intimate, delicate passages in an Emfindsamer Stil. While preparing for this recording, Artem, Victor and I have enjoyed exploring expressive means to bring out the full range of sentiments we found in the music, including occasional extemporised ornamentation, cadenzas and continuo harmonisation, the use of melodic rubato (when the melody speeds up or slows down freely around a stable accompaniment) and portamento.

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