MARTIN BERTEAU Sonatas & airs for violoncello
Christophe Coin, violoncello
Petr Skalka, violoncello Felix Knecht, violoncello Markus Hünninger, harpsichord
Total playing time: 64:28 Recorded in the Église de Malbosc (Ardèche, France) in July 2013 Engineered and produced by Manuel Mohino Executive producer: Carlos Céster Booklet essay by Thomas Drescher English - Français - Deutsch
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MARTIN BERTEAU (1708-1771) Sonatas & airs for violoncello
Sonata V (E flat major) 1 Grave2 Moderato3 Aria. Amoroso4 Air Gratieux
Sonata I (D major) 5 Spirituoso6 Vivace7 Grave8 Allegro assai
Sixième Exercice (G major)9 Allegro
Sonata III (G major) 10 Allegro11 Grave12 Allegro13 Rondo. Amoroso
Trio (Sonata VI, E minor) 14 Allegretto15 Siciliana16 Gratioso
Sonata VIII (A minor) 17 Vivace
Airs 18 Amoroso19 Air Gratieux20 Menuet Gratieux21 Air Gay22 Air Gratieux
Sonata IV (F major) 23 Cantabile24 Allegro ma non troppo25 Andantino. Pianissimo26 [Tempo di Minuetto]27 Amoroso28 [Tempo di Minuetto da capo]29 Air Gay
About this CD
Whatever composer, period or style Christophe Coin turns his attention to, it is certain to be full of interest and musicality. Such is the case with a new recording from the Schola Cantorum Basiliensis – where Coin teaches – whose focus is one of the founding fathers of modern cello playing, the Frenchman active in the middle of the 18th century, Martin Berteau. Known both for training many of the important cellists from later in that century and for introducing technical innovations which extended the instrument’s range and expressiveness, Berteau’s composing voice has been very little known (some of his compositions also being confused with those by others).
An ideal candidate, therefore, for a thorough-going reappraisal from a musician as talented as Christophe Coin (who, like the composer, played the viola da gamba before turning to the cello), with the help of two of his own former cello students in Petr Skalka and Felix Knecht. Cello Sonatas and Airs make up this programme – including one sonata in which all three cellists take part. The three of them play on instruments from the epoch, whilst Markus Hünninger provides harpsichord accompaniment.
In the accompanying booklet essay for this new release (issued by Glossa as part of its ongoing relationship with the SCB), Thomas Drescher traces the lifespan of Martin Berteau, an overlooked compositional figure who leads us back to the roots of an important instrument of our musical culture.