Rebel - Sonatas for Violins and Bass

2010

“For many people, if Jean-Fery Rebel is known as anything more than a name, it is for one chord – the spectacular dissonance which conjures primeval chaos at the opening of his ballet suite Les elemens. Yet, as the members of L'Assemblée des Honnestes Curieux maintain here, he should perhaps be better remembered for his chamber works, which include some of the earliest duo and trio sonatas to be composed in France (they probably date from the 1690s), and which were noted in their day for successfully combining 'Italian genius and fire' with 'French wisdom and tenderness'.
It seems a reasonable claim, too: the sonatas on this disc – taken from sets Rebel published in 1712 and 1713 – intermingle lentement and gracieusement movements of great Gallic sweetness and melodic refinement with vistes and gays whose violinistic flair and vigour call to mind the everinfluential Corelli. And if that 'Chaos' crushchord suggests that Rebel had a taste for harmonic adventure, then that is backed up by these pieces, which contain a number of bold moves.
All of the works on this disc are available elsewhere, but this new release scores a hit by mixing works, and therefore textures, from both publications.
That is not the only thing that makes the disc worth your money, however, for the performances are first-rate, with impeccable and vigorous ensemble-playing put at the service of rich and intelligent expression – note how when the achingly sad opening movement of Le tombeau deMonsieur de Lully returns at the end the intensity is cranked up by leaving out the harpsichord.
Well recorded, too, this disc is all pleasure.e”

July 2006

“…the sonatas on this disc… intermingle lentement and gracieusement movements of great Gallic sweetness and melodic refinement with vistes and gays whose violinistic flair and vigour call to mind the ever-influential Corelli. …the performances are first-rate, with impeccable and vigorous ensemble-playing put at the service of rich and intelligent expression - note how when the achingly sad opening movement of Le tombeau de Monsieur de Lully returns at the end of the intensity is cranked up by leaving out the harpsichord. Well recorded, too, this disc is all pleasure.”