1-01 	Ouverture 	4:13
1-02 	Scène 1: Choeur Des Peuples D'amathonte, "Reine De La Nature" 	2:00
1-03 	Scène 1: Sarabande 	1:13
1-04 	Scène 1: Air Gracieux 	1:26
1-05 	Scène 1: Prélude, Chef Des Peuples, "Quel Bruit Soudain" 	0:16
1-06 	Scène 2: Chef Des Peuples, "Ciel! Quels Attentats Furieux" 	0:44
1-07 	Scène 2: Récit. Chef Des Peuples, "Redoutable Vénus" 	0:35
1-08 	Scène 2: Bruit de Tonnerre 	0:39
1-09 	Scène 2: Symphonie Pour La Descente De Vénus 	1:29
1-10 	Scène 3: Récit. Vénus, "Cessez De Braver Ma Puissance" 	0:14
1-11 	Scène 3: Symphonie 	1:13
1-12 	Scène 3: Récit. Vénus, "Pour Vous Dont Je Reçois" 	1:01
1-13 	Scène 3: Chef Des Peuples "Des Nations Il Triomphe" 	1:12
1-14 	Scène 3: Récit. L'Amour, "Dans Un Auguste Fis" 	1:37
1-15 	Scène 3: Gigue 	2:46
1-16 	Scène 3: Passepied 	2:07
1-17 	Ouverture 	3:09
1-18 	Acte I. Scène 1: Scylla, "Non Je Ne Cesserai Jamais" 	2:38
1-19 	Acte I. Scène 2: Récit 	0:30
1-20 	Acte I. Scène 2: Air Temire, "Quand On Craint D'Avoir Le Coeur Tendre" 	0:36
1-21 	Acte I. Scène 2: Récit 	0:42
1-22 	Acte I. Scène 2: Annonce De La Fête 	1:20
1-23 	Acte I.Scène 3: Marche Des Bergers Et Des Silvains 	5:15
1-24 	Acte I. Scène 3: Récit. Duo, "Une Beauté Sévère" 	0:22
1-25 	Acte I. Scène 3: Air des Silvains 	1:34
1-26 	Acte I. Scène 3: Musette 	2:23
1-27 	Acte I. Scène 3: Une Driade, Un Silvain 	0:51
1-28 	Acte I. Scène 3: 1e Menuet 	1:39
1-29 	Acte I. Scène 3: 2e Menuet 	0:51
1-30 	Acte I. Scène 3: Choeur De Bergers Et de Silvains 	1:22
1-31 	Acte I. Scène 3: Récit. Scylla, "Perdez Une Vaine Espérance" 	0:23
1-32 	Acte I. Scène 4: Récit. Scylla & Temire, "Allons Chère Temire" 	0:31
1-33 	Acte I. Scène 5: Récit. Glaucus, "Nymphe, Tout Sur Ces Bords" 	0:39
1-34 	Acte I. Scène 5: Air Scylla "L'Amour N'Offre Qu'Un Bien Trompeur" 	0:46
1-35 	Acte I. Scène 5: Récit. Glaucus, "Croirai-Je Que Les Chants" 	1:35
1-36 	Acte I. Scène 5: Air Glaucus, "Quand Je Ne Vous Vois Pas" 	0:48
1-37 	Acte I. Scène 5: Récit. Glaucus, "Ciel Dans Ces Mêmes Yeux" 	0:19
1-38 	Acte I. Scène 6: Récit. Glaucus, "Ne Faut-il Que L'Aimer" 	0:43

2-01 	Acte II. Scène 1: Prélude, Circé, Dorine "Qui Je Dois Craindre" 	2:21
2-02 	Acte II. Scène 1: Air Circé, "Mon Coeur Est Fait Pour S'Enflammer" 	0:46
2-03 	Acte II. Scène 1: Air Circlé, Dorine, "Apprends Ce Qu'aujourd'hui Mon Art" 	2:41
2-04 	Acte II. Scène 2: Récit? Glaucus Circé 	0:37
2-05 	Acte II. Scène 2: Récit. Accompagnato Glaucus, "Vous pouvez D'Un Seul Mot" 	1:00
2-06 	Acte II. Scène 2: Air Circé, "Circé Sensible A Vos Alarmes" 	1:09
2-07 	Acte II. Scène 2: Récir. Glaucus. "Aux Champs Siliciens" 	0:45
2-08 	Acte II. Scène 2: Air Circé, "Ah loin De Vous Piquer D'Une Constance Vaine" 	1:00
2-09 	Acte II. Scène 3: Récit. Circé, Ministres de Mon Art" 	0:37
2-10 	Acte II. Scène 3: Passacaille 	5:47
2-11 	Acte II. Scène 3: Récit. Glaucus, "Quel Espoir Séduisant" 	1:13
2-12 	Acte II. Scène 4: Récit. Licas, Glaucus, "Quelle Secrète Puissance" 	0:53
2-13 	Acte II. Scène 4: Circé, troupe Des Ministres De Circé 	3:28
2-14 	Acte II. Scène 4: Entreacte 	0:41
2-15 	Acte III. Scène 1: Symphonie (Scylla) 	3:31
2-16 	Acte III. Scène 1: récit. Scylla, Temire, "Temire L'inconstant 	1:11
2-17 	Acte III. Scène 1: Air Temire, "On se Rend Plus Tôt Qu'on Ne Pense" 	2:09
2-18 	Acte III. Scène 2: Récit. Glaucus, Scylla, "Me Fuirez-Vous Encore" 	1:11
2-19 	Acte III. Scène 2: Air Glaucus, "Mais pourquoi des Serments" 	0:57
2-20 	Acte III. Scène 2: Récit. Scylla, "Pourquoi Vous Obstiner" 	2:21
2-21 	Acte III. Scène 2: Duo Scylla, Glaucus, "Que Le Tendre Amour Nous Engage" 	1:05
2-22 	Acte III. Scène 2: Récit. Glaucus, "Vous Qui Dans L'Empire des Flots" 	0:22
2-23 	Acte III. Scène 3: Glaucus, "Chantez, Scylla" 	1:04
2-24 	Acte III. Scène 3: Symphonien Choeur 'Chantons Scylla" 	2:40
2-25 	Acte III. Scène 3: Loure 	2:15
2-26 	Acte III. Scène 3: Premier Air En Rondeau 	4:49
2-27 	Acte III. Scène 3: Grand Air, Scylla 	2:26
2-28 	Acte III. Scène 3: Récit. Scylla 	1:21
2-29 	Acte III. Scène 3: Récit. Glaucus 	0:29
2-30 	Acte III.Scène 4: Circé Seule, "Tout Fuit, Tout Disparait" 	1:54
2-31 	Acte III. Scène 4: Air 	0:37

3-01 	Acte IV. Scène 1: Symphonie (Ritournelle) 	1:31
3-02 	Acte IV. Scène 1: Récit. Circé, Glaucus, "Glaucus Par tout L'Amour" 	0:31
3-03 	Acte IV. Scène 1: Air Glaucus, "Si L'Amour Voit Languir Ses Feux" 	0:37
3-04 	Acte IV. Scène 1: Récit. Circé, "Ne Te Souvient-Il Plus" 	1:21
3-05 	Acte IV. Scène 1: Récit. Circé, Glaucus, Circé, "Trompé Par Vos Enchantements" 	3:18
3-06 	Acte IV. Scène 2: Récit. Circé, 	5:13
3-07 	Acte IV. Scène 3: Récit. Circé, Dorine, "Ah C'est Trop A Conserver" 	1:11
3-08 	Acte IV. Scène 3: Circé, "Ah Que La Vengeance A De Charmes" 	0:51
3-09 	Acte IV. Scène 3: Circé, "Mais Déjà De Ses Voiles Sombrés" 	0:58
3-10 	Acte IV. Scène 4: Circé Seule, "Et Toi Dont Les Embrassements" 	0:53
3-11 	Acte IV. Scène 4: Invocation Circé 	1:52
3-12 	Acte IV. Scène 4: Circé, "Que Circé Vous Inspire" 	1:36
3-13 	Acte IV. Scène 5: Choeur 	0:33
3-14 	Acte IV. Scène 5: 1er Air de Demons 	1:58
3-15 	Acte IV. Scène 5: Circé, Brillante Fille de Latone" 	3:11
3-16 	Acte IV. Scène 5: Récit. Circé, "Du Flambeau De La Nuit" 	1:16
3-17 	Acte IV. Scène 5: 3e Air de Démons (Reprise) 	2:39
3-18 	Acte IV. Scène 5: Circé, "La Terre S'ouvre" 	0:27
3-19 	Acte IV. Scène 6: Hécate, Circé, "Pour Toi Seule Deux Fois" 	1:26
3-20 	Acte IV. Scène 6: 3e Air Des Demons 	1:21
3-21 	Acte V. Scène 1: Symphonie 	5:48
3-22 	Acte V. Scène 2: Choeur, "Chantons, Bénissons A Jamais" 	1:46
3-23 	Acte V. Scène 2: Choeur, 1e Air De Ballet 	2:42
3-24 	Acte V. Scène 2: récit. Glaucus Aux Peuples, "Peuples De Ces Climats" 	4:06
3-25 	Acte V. Scène 2: 2e Air De Ballet 	2:59
3-26 	Acte V. Scène 2: 1e Air Une Sicilienne 	5:17
3-27 	Acte V. Scène 2: 3e Air de Ballet (Tambourin) 	2:03
3-28 	Acte V. Scène 2: récit. Scylla, Glaucus, "C'est Au Bord de Cette Fontaine" 	6:10
3-29 	Acte V. Scène 2: Symphonie 	2:32

Baritone Vocals [Deux Slivains] – Francis Duziak, Richard Stuart
Baritone Vocals [Hécate] – Francis Duziak
Baritone Vocals [Licas, Chef des peuples] – René Schirrer
Soprano Vocals [Circé] – Rachel Yakar
Soprano Vocals [Dorine, Une sicilienne] – Catherine Dubosc
Soprano Vocals [Filles du chœur] – Catherine Dubosc, Elisabeth Priday, Gillian Ross, Mary Seers, Rachel Platt, Ruth Holton, Suzanne Flowers
Soprano Vocals [L'Amour] – Françoise Golfier
Soprano Vocals [Scylla] – Donna Brown
Soprano Vocals [Témire, un driade] – Elisabeth Vidal
Soprano Vocals [Vénus, Une bergère] – Agnès Mellon
Tenor Vocals [Glaucus] – Howard Crook
Tenor Vocals [Propétide I] – Andrew Murgatroyd
Tenor Vocals [Propétide II] – Nicolas Robertson
Tenor Vocals [Un berger] – Philip Salmon

Contrabass – Chi chi Nwanoku
Flute – Lisa Beznosiuk
Harpsichord – Alastair Ross
Chorus – Monteverdi Choir
Orchestra – English Baroque Soloists
Conductor – John Eliot Gardiner

John Eliot Gardiner has proved himself a doughty champion of the later French Baroque, cultivating credible performing methods and unearthing undeservedly neglected repertoire. These nine CDs offer both rich musical rewards and an insight into developing approaches to interpretation. The earliest repertoire in the set is the volume of Francois Couperin's 'apotheoses' of Lully and Corelli, a sensual and programmatic feast in which this charmingly didactic composer attempts to reconcile the best of French and Italian taste. The recording, from 1988, is the most recent in vintage, with stylish solo performances which are at their most natural in L 'apotheose de Lully. The makeweight on diis disc is Peter Holman's inflation for orchestra of Couperin's suite Dans legout theatral of 1724 - an engaging oddity which, played here widi verve and commitment, makes a fine effect. At the other end of the performance practice spectrum is the 1977 recording of Rameau's ballet La dansefmm the opera-ballet Les fetes d'Hebe. Both the solo singing and orchestral sound of the Monteverdi Orchestra have a distincdy Romantic glow which, on its own terms, is enjoyable if slightly soporific. Five years later, in the unfailingly delightful orchestral music from Rameau's opera Dardanus, the playing of the English Baroque Soloists is far more at ease with French style, though it lacks the punch they bring to Les boreades, also recorded in 1982. Viewed by many as one of the greatest of Rameau's operas, the score is both dramatically effective and a riot of orchestral colour. Gardiner conducts with a real feeling for the way in which instrumental timbre underpins the drama, while in a strong cast Philip Langridge is both stylish and superbly theatrical as Abaris. Leclair's single opera Scylla et Glaucus may lack the sheer audacity of his teacher Rameau, but it's enormously likeable. If anything, the performers respond better and more stylishly to Leclair's charming if slightly predictable sound-world than in Les boreades, and the conducting preserves a neat balance between drama and ornament. Here as elsewhere it is clear that Gardiner favours intervention over chilly authenticity; whether or not you agree with all his decisions, the clarity of the image he presents is often provocative and always bracing. ---Jan Smaczny, classical-music.com

The French composer, Jean-Marie Leclair, is primarily remembered for his instrumental sonatas, trios and concertos. He is often described as ‘the father of the French violin school’. Scylla et Glaucus is his only venture into the world of opera, although he is known to have contributed to other divertissements and opera-ballets.

Born in Lyon, he soon left for Turin in Italy where he studied dance and the violin. There he came under the influence of the major Italian composers of the day especially Pietro Locatelli. Leclair returned to France in 1723, bringing with him a more Italianate style of composition. He settled in Paris where he performed at the Concert Spirituel. Scylla et Glaucus was composed in 1746 to a French libretto based upon books 10, 13 and 14 of The Metamorphoses by Ovid, although the story is altered to include a Prologue that glorifies Louis XV and the Dauphin. From what we know about the production, it was not held to have much promise, Leclair only being regarded as a violinist. However, the standard of vocal writing was regarded as better than expected. I find it hard to understand why, on this evidence, he was never commissioned to compose other operas. ---Stuart Sillitoe, musicweb-international.com

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Sonata for 2 Violins in G Major, Op. 3, No. 1
1.   		I. Allegro 00:02:44
2.   		II. Allegro ma poco 00:02:36
3.   		III. Allegro 00:02:21
Sonata for 2 Violins in A Major, Op. 3, No. 2
4.   		I. Allegro 00:02:26
5.   		II. Sarabanda: Largo 00:02:17
6.   		III. Allegro 00:02:34
Sonata for 2 Violins in C Major, Op. 3, No. 3
7.   		I. Adagio Vivace 00:04:56
8.   		II. Adagio 00:02:46
9.   		III. Allegro 00:03:34
Sonata for 2 Violins in F Major, Op. 3, No. 4
10.   		I. Allegro assai 00:02:51
11.   		II. Aria: Andante grazioso 00:04:18
12.   		III. Gigue: Allegro moderato 00:02:55
Sonata for 2 Violins in E Minor, Op. 3, No. 5
13.   		I. Allegro ma poco 00:03:16
14.   		II. Gavotte 00:01:46
15.   		III. Presto 00:02:31
Sonata for 2 Violins in D Major, Op. 3, No. 6
16.   		I. Andante sempre piano — 00:01:28
17.   		II. Allegro 00:02:36
18.   		III. Largo 00:02:01
19.   		IV. Allegro ma non troppo 00:03:38

Monica Waisman, Florian Deuter – violins

Harmonie Universelle is formed by musicians from Western Europe and the Americas. Its director, German-born Florian Deuter brings his wealth of experience to the group to bind the array of cultures and temperaments that manifest the voice of the ensemble. Alongside are Mónica Waisman,Argentine Violinist; David Glidden, Canadian violist and violinist; and, forming the continuo, French harpsichordist Philippe Grisvard and Hungarian cellist Balázs Máté. --- prestoclassical.co.uk

Leclair’s contribution to music history cannot be overstated. His innovation as a composer revolutionized the French school of violin playing and his playing helped to raise the standard of playing in France immeasurably. By weaving together elements of Italian and French music, he created an entirely new compositional style. His duos influenced later composers such as Mozart, de Beriot, Viotti, and closer to our own time, Bartok and Berio. --- sonoluminus.com

Deux recueils cette fois, et seulement de six sonates chacun, le premier (Opus 3) publié en 1730, le second (Opus 12) vers 1747. Une plénitude musicale étonnante au regard des moyens employés, et ce, sans esbrouffe : ces douze sonates « à huit cordes seules », plus encore peut-être que les autres, justifient ce commentaire que Philippe Beaussant adresse à l'ensemble des œuvres instrumentales du musicien : « La rigueur de la composition, la hauteur de la pensée, et aussi le charme, égalent ou dépassent le brillant et l'éclat de la technique. Ce qui est admirable chez Leclair, c'est justement l'équilibre parfait que l'on trouve dans chaque œuvre entre diverses tendances : de l'audace, de la hardiesse, mais profondément réfléchie, pensée, posée sans hâte et à coup sûr. Une correction parfaite de l'écriture, sans froideur ; du lyrisme au contraire, dans certains mouvements lents en particulier, mais grave et presque majestueux dans sa démarche. De la tendresse, mais contenue, de la fougue parfois, ma non troppo. --- musicologie.org

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Concerto op.7 no.4 F major
01. I. Allegro    [0:04:25.72]
02. II. Adagio    [0:04:55.23]
03. III. Allegro    [0:03:36.70]
Concerto op.10 no.1 B flat  major
04. I. Allegro    [0:04:44.25]
05.. Andante    [0:03:45.07]
06. III. Giga (Allegro ma non troppo)    [0:05:17.48]
Concerto op.10 no.6 G  minor
07. I. Allegro ma poco    [0:08:08.47]
08. II. Andante (aria grazioso)    [0:04:07.40]
09. III. Allegro    [0:06:35.58]
Concerto op.10 no.2 A  major
10. I. Allegro    [0:04:37.10]
11. II. Adagio    [0:04:17.15]
12. III. Allegro ma non troppo    [0:04:47.35]

Ensemble Stradivaria
Daniel Cuiller - violin and direction

The French violinist and composer Jean-Marie Leclair (often referred to as "the elder" to distinguish him from a younger brother who went by the same name) is remembered for an effective synthesis of his own Parisian musical heritage with the Italian sonata style brought into vogue by Corelli.

Born in 1697 to a French lacemaker and cellist, Leclair was considered a master of both the violin and his father's lacemaking trade by the time he reached adulthood. His skill as a dancer earned him a position with the Lyons Opera (1716 or perhaps a little earlier), and in the next few years it is probable that he either lived in or was a frequent visitor to Paris (an assumption scholars base on a 1721 Parisian musical publication which included ten of Leclair's violin sonatas). By 1723 Leclair had convinced Joseph Bonnier, one of France's wealthiest aristocrats, to publish his Opus 1 collection of violin sonatas, which were received with great admiration by the Parisian musical establishment.

Around 1726 Leclair found his way to Turin to study with violinist-composer G.B. Somis, as well as to compose ballet interludes (now lost) for opera productions at the Teatro Regio Ducale. A second opus of violin sonatas was published in 1728, and during that same year Leclair made his debut as a violinist at the Concert Spirituel. Performances of his own music in London, Kassel (where Leclair engaged in a musical "duel" with famed Italian violinist Pietro Locatelli) and Paris earned Leclair a reputation as one of the leading figures of the new French school of violinist-composers. Formal recognition came in 1733 with an appointment to the musical court of Louis XV, to whom Leclair dedicated his third opus of violin sonatas as a display of gratitude. --- Blair Johnston, Rovi

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1. Violin Concerto in D Major, Op. 7, No. 2*: I. Adagio - Allegro ma non troppo	6:31	
2. Violin Concerto in D Major, Op. 7, No. 2*: II. Adagio	3:51
3. Violin Concerto in D Major, Op. 7, No. 2*: III. Allegro	5:40
4. Violin Concerto in A Minor, Op. 7, No. 5: I. Vivace	5:36
5. Violin Concerto in A Minor, Op. 7, No. 5: II. Largo - Adagio	4:24	
6. Violin Concerto in A Minor, Op. 7, No. 5: III. Allegro assai	5:15	
7. Violin Concerto in B-Flat Major, Op. 10, No. 1: I. Allegro	5:07	
8. Violin Concerto in B-Flat Major, Op. 10, No. 1: II. Andante	3:52	
9. Violin Concerto in B-Flat Major, Op. 10, No. 1: III. Giga - Allegro ma non troppo	5:07	
10. Violin Concerto in E Minor, Op. 10, No. 5: I. Allego ma poco	5:54	 
11. Violin Concerto in E Minor, Op. 10, No. 5: II. Largo	5:02	
12. Violin Concerto in E Minor, Op. 10, No. 5: III. Allegro	5:48

Collegium Musicum 90
Simon Standage - violin & director

The three volumes in this series from the mid-1990s, comprising all twelve of Leclair's Op. 7 and Op.10 concertos, are uniformly excellent. Leclair doesn't go in for the intense pyrotechnics of some his Italian contemporaries, but his concertos are full of grace and charm. It is all beautifully crafted and there is plenty of musical interest here as well as a very engaging overall effect, and it is quite right that Leclair is becoming rather better known.

Simon Standage and Collegium Musicum 90 judge it perfectly, I think. Their tempi are restrained without ever seeming plodding or turgid and they allow the music's character to shine through. The ensemble is quite small, giving the concerti an almost chamber feel in places, and the excellent musicians play together beautifully. There is plenty of virtuoso stuff here, too, but - as we would expect from Standage - it is played with that apparently effortless grace which serves the music rather than drawing attention to the skill of the soloist.

Each disc has a well chosen selection so that each makes an enjoyable programme (although I enjoy them more when I just listen to one or two concerti at a time). The recorded sound is very good and the presentation attractive with interesting notes. This is a delightful series, and recommended wholeheartedly. ---Sid Nuncius, amazon.com

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	Violin Concerto Op.7 No.4 in F major 	13:45
  	  	  	F-Dur; en fa majeur 	
1 	I 	Allegro moderato 	05:03
2 	II 	Adagio 	04:51
3 	III 	Allegro 	03:45
  	  	  		
	Violin Concerto Op.10 No.2 in A major 	15:12
  	  	  	A-Dur; en la majeur 	
4 	I 	Allegro ma non troppo - Adagio - A tempo 	05:06
5 	II 	Adagio 	04:58
6 	III 	Allegro ma non troppo 	04:59
  	  	  		
	Flute Concerto Op.7 No.3 in C major 	15:20
  	  	  	C-Dur; en ut majeur 	
7 	I 	Allegro 	05:24
8 	II 	Adagio 	05:30
9 	III 	Allegro assai 	04:18
  	  	  		
	Violin Concerto Op.7 No.6 in A major 	20:41
  	  	  	A-Dur; en la majeur 	
10 	I 	Allegro ma non presto 	09:15
11 	II 	Aria. Grazioso non troppo adagio 	05:51
12 	III 	Giga. Allegro 	05:26

Rachel Brown – flute
Collegium Musicum 90
Simon Standage - violin & director

Jean-Marie Leclair (1697-1764) also had a brother named Jean-Marie Leclair. So this Jean-Marie, the more well-known of the the Leclair brothers, who were all (including Pierre and Jean-Bienoit) musicians, is generally known as Jean-Marie Leclair the Elder. Must have been confusing when shouting for everyone to come to dinner! But I digress

Leclair was an acknowledged violin virtuoso and is considered to have founded the French violin school of Baroque music. He was contemporary with such other masters as Tartini. Leclair is known also for being murdered, stabbed to death in the rather unsavoury neighbourhood in which he lived - family members were the prime suspects.

I would say most, if not all, of Leclair's music known today is violin-based, and this cd offers a selection of his Violin Concertos:

Op. 7 No. 4 in F major
Op. 10 No. 2 in A major
Op. 7 No. 3 in C major
Op. 7 No. 6 in A major

Leclair's music is light, bright, beautiful, lyrical - it has the French Baroque melodic touch, and is always beautiful to listen to. These violin concertos are presented in a polished fashin here by Collegium Musicum 90, a well-known English baroque orchestra founded in 1990 by Simon Standage and Richard Hickox. So the music, and the performers on this cd, are well worth listening to, and authoritative in their interpretation, joined by Rachel Brown on flute. Totally recommended - if you are familiar with Leclair's works, you will thoroughly enjoy this - if you are not familir with his works, this is a really good place to introduce yourself to them. ---Keen Reader, amazon.com

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	Violin concerto Op. 7, No 1 	12:14
  	in D minor . D-Moll . Ré mineur 
1 	I 	Allegro 	03:44
2 	II 	Aria: Gratioso 	04:24
3 	III 	Vivace 	03:59

	Violin Concerto Op. 10, No. 4 	15:22
  	in F major . F-Dur . Fa majeur 	
4 	I 	Allegro ma poco 	06:13
5 	II 	Aria: Gratioso, Andante 	04:06
6 	III 	Allegro 	04:56

	Violin Concerto Op. 10, No. 3 	14:06
  	in D major . D-Dur . ré majeur 	
7 	I 	Allegro moderato 	04:55
8 	II 	Andante 	04:08
9 	III 	Allegro ma non troppo 	04:57

	Violin Concerto Op. 10, No. 6 	16:55
  	in G minor . G-Moll . Sol majeur 	
10 	I 	Allegro ma poco 	07:47
11 	II 	Aria gratioso: Andante 	03:10
12 	III 	Allegro 	05:49

Collegium Musicum 90
Simon Standage – violin & direction

This disc contains Leclair's most vivacious and attractive works, played with great élan, sensitivity and neatness, and recorded with exemplary clarity and balance. The concertos represent a high-water mark in 18th-century violin technique, with extensive double-stopping, an extended range that soars up to heights scarcely ventured previously, rapid scales and flying arpeggios, and elaborate figurations of all kinds. To all of this Standage brings a seasoned virtuosity which he places totally at the service of the music's grace: his bowing in particular commands admiration. From the stylistic viewpoint these concertos are interesting for their mingling of French and Italian elements. There are Vivaldian unisons, but French dance forms for the middle movements – a pair of minuets in the D minor, minuets en rondeau in the G minor, a pair of gavottes with unusual interplay between solo and tutti in the F major, and an ornate solo line over supporting reiterated chords in the D major. Standage adds spontaneous embellishments of his own on repeats. --- prestoclassical.co.uk

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