This program pays tribute to one of the greatest French Baroque composers of the 18th century, a true founder of the French school of violin. Its title is a nod to a historical event, the musical duel held in Kassel between Leclair and Locatelli, where the latter was dubbed the Devil and the Frenchman the Angel. This flattering label, however, does not apply to the temperamental character of the composer, worthy of a film character, who made many enemies to the point of being assassinated in 1764. Nevertheless, he remains an extraordinary violinist and a composer of the highest interest, even if his music unfortunately remains little known.Our program offers a rich overview of his instrumental music output, to which he dedicated almost all of his energy, with the opera Scylla and Glaucus being an exception. Leclair cultivated all possible musical forms, even if his four books of sonatas p Violin, a true monument of the repertoire, crystallizes the essence of his inspiration. We have therefore chosen excerpts from the Second Musical Recreation, a genuine French suite with its overture and character dances, and a sumptuous chaconne, whose spirit aligns perfectly with the idea of musical play suggested by the title. The Overture, Opus 13, is a trio transcription of the overture to Scylla and Glaucus, in which one can perceive the heroic atmosphere of the lyric tragedy. His Opus 4, perhaps the least known of Leclair's output, nevertheless contains unsuspected masterpieces, such as this trio sonata in D minor, in da chiesa form, where the composer demonstrates an unexpected mastery of counterpoint. With his duos for two violins without bass, he invents nothing less than a new musical form, which would achieve resounding success in the second half of the 18th century and in the development of amateur practice. The repertoire of duos, extremely rich includes works by Haydn, Boccherini, Nardini, Guillemain, Guignon, and later, up to Spohr. Leclair has no equal in blending the sounds of the two performers, giving each in turn the opportunity to shine. Sonata No. 10 from Book III is a perfect summary of his art. From the first adagio, all in double stops with a completely Corellian “walking bass,” a mysterious and intense atmosphere emerges. The following allegro, with its entirely Italian virtuosity, allows the violinist and the basso continuo to shine, while the subsequent aria in rondo form, with its typically French broken style, exudes a deep nostalgia. The famous final tambourin concludes the sonata in a festive and lively manner. Curiously, a copy of this sonata was found in the archives of the Mexico Cathedral, which attests to its success and the wide dissemination of Leclair’s works during his lifetime. The entire expressive palette of Leclair’s genius is displayed in this program, which is sure to delight.
