Bearing in mind that Leclair was considered one of the greatest violinists of his time and wrote extensively for his instrument – 12 concertos and some 60 sonatas for one or two violins – he is decidedly under-represented on disc. The present team, who have recorded six of Leclair’s Op. 9 set (Auvidis, 7/97), now turn their attention to his Op. 1, which was so successful when it was first published in 1723 that it had to be reprinted four times. Though the technical demands it makes on the violinist are considerable, the composer himself was at pains not to employ virtuosity as an end in itself (as was the case with Locatelli, who like him was in the service of the Princess of Orange in Amsterdam) and to condemn the “trivialisation” of players who exaggerated the speed of quick movements.
Leclair also, like Couperin, was insistent that performers should not add ornamentation of their own, which “serves only to disfigure ... melodious or expressive pieces” – though in the four sonatas here only the initial Adagio of No. 3 is much decorated. Rather did he place emphasis on “le beau chant” – expressive cantabile, which is well exemplified in the first movements of Nos. 1, 8 and 9. The crisp Allegro, with its rapid dipping across strings, and the Largo of No. 3 make play with multiple stopping, including double trills, and there is vigorous cross-string work too in the ebullient Giga of No. 1. Leclair shows himself fond of the rondeau form with long episodes, and the Sarabande of No. 9 is a set of variations. This last has an athletic gamba line, as does the whole of the G major Sonata; and the alert and positive continuo playing here (from both gamba and harpsichord) is a special pleasure. But naturally the main spotlight falls on Francois Fernandez, whose lively, pointed bowing, delicate and sprightly fast movements and graceful slow ones (like the gentle G major Musette) do full justice to Leclair’s attractive invention. A strongly recommended disc.'