Denis Delair (1662-1734)
The Violin Sonatas
The Levée
rec. 2024, St. John’s Loughton, Essex
Warbling Quire WQ2501 [79]

This generously filled disc explores the music of Denis Delair, the author of an obscure 1690 accompanying treatise for theorbo and harpsichord and composer of these seven violin sonatas. Violinist Marguerite Wasserman and harpsichordist Josef Laming discovered the manuscript of the sonatas buried in the archives of the Düben Collection in Sweden and they “were captivated by Delair’s unique style of composition: the rich harmonies, his rhetorical, vocal writing for instruments, the heavy chromaticism and surprising modulations.” (from the booklet notes by Wasserman and Laming) Six of the seven sonatas in the manuscript are for violin solo, while the remaining sonata is for two violins.

Wasserman, Laming, and their Levée colleagues Niels Pfeffer (theorbo), Martin Jantzen (viola da gamba) play with superb intonation, great verve, and with an obvious knowledge of and love for the style of Delair’s compositions. (Guest violinist Elise Dupont plays beautifully in the final sonata.) The ensemble’s use of notes inégales is invigorating (listen to the Rondeau of the first sonata to experience the catchy swing of this rhythmic device), and the agréments from all parties are both sophisticated and invariably apt. Unlike some baroque ensembles where you have the sense that there is a solo violinist plus “everyone else,” all the players have a chance to shine on this recording, the result of the performers’ theory explained in the booklet notes that the sonatas were intended not as vehicles for the violinist, but rather as experimental playgrounds for the “accompanying” basso continuo forces.

A quick note on the booklet notes: they are exemplary, exactly what booklet notes should be. Too often, notes read like a painful travelogue along the lines of “and then in X section the composer goes to Y key” with random biographical facts tossed in to hold the attention. Wasserman and Laming very clearly explain the historical context of the music, how the music is organized, what sets Delair apart stylistically, and even provide a section that details their instrumentation choices, the pitch/temperament used, and the ornamentation. Hopefully other musicians will take note!

How is the music? Having listened to the disc twice, the report is mixed. As performed by the Levée, the sonatas hold the listener’s attention. There are intriguing and unexpected swings in mood (Sonata Quarta’s Gay – Grave, for example) where the affect of the music turns on a dime. As noted in the booklet, there are some extreme harmonic explorations and a pronounced use of the diminished third chord, a daring maneuver for the era. Due to the emphasis on the accompaniment, however, there is little to hold onto, melodically speaking. Although there are reams of Baroque pieces with a similar lack of melodic invention, it’s worth noting that Delair’s contemporaries Rameau and Couperin (le Grand) managed to craft melodies that stick in the ear while also embracing complex accompaniments.

Even with the caveat that Delair’s music is not as immediately memorable as that of his better-known contemporaries, the rich, multilayered performances make this disc well worth hearing.

Richard Masters

Buying this recording via a link below generates revenue for MWI, which helps the site remain free