Lully’s gifted pupil, Jean-Fery Rebel is chiefly remembered nowadays, for Les elemens, his entertaining symphonie de danse, with its strikingly original representation of “Chaos”. His collection of seven trios and five solos, though harmonically less bold than parts of Les elemens, was nevertheless innovative in another respect; for, although the pieces were published in 1712-3, Sebastien de Brossard informs us that they date from 1695, which makes them among the first of their kind in France. In common with Couperin and others, Rebel displays his skill in blending ingredients both of Italian and French idioms. This new recital contains the seven trios of Rebel’s Recueil, but omits the five solo violin sonatas.
Rebel’s trios compare favourably with those of his contemporary, Francois Couperin. They are full of interest, revealing many extended passages of effective part-writing for the violins. Five of the trios have an evocative subtitle, inspired by the gods and goddesses of classical mythology, while a sixth, “L’Immortelle”, seems to embrace the entire concept. The last of the trios, though, strikes a more personal note inasmuch as it is a musical-poetic tribute, or tombeau, to Rebel’s teacher, Lully. He, of course, is to be understood in the present context as one of the Parnassian deities. The piece, by far the most often played in modern times, introduces a deep note of pathos and, in this respect, offers a strong contrast with the predominantly airy and lively gestures of the remaining trios.
Ensemble Rebel consists of players of various nationalities of which French, paradoxically, is not one. These are stylish performances, full of spirit yet receptive to subtler, underlying expressive currents. It is here, perhaps, that I feel they could have indulged in more overtly Gallic baroque gestures. In the “Tombeau”, for instance, they disclose the elegy of the music a shade superficially. An all-French group, Variations, with bolder brush strokes, capture added dimensions of nobility and fervour in their recording (on Accord). But the newcomers have the edge on their French rivals in refinement of ensemble. Few readers will be disappointed either by the music or by the recorded sound, which is sympathetic and intimate. In the absence of a readily sought alternative, this new recording can be acquired with confidence.'