Awarded a Diapason Découverte, André Lislevand's debut album Forqueray Unchained (Arcana A486, 2021) celebrated one of moments of greatest splendor for the viola da gamba: that of the ancien régime in France. In this repertoire, the young musician proved to be "absolutely on top of his game and not afraid to explore the extremes of his instrument's aesthetic world, though without ever losing touch with le bon goût" (Early Music Review). The same youthful freshness and energy can be found in his second album, though here he explores the German repertoire of the central decades of the 18th century, a period that witnessed the gradual decline of the instrument, but was still capable of expressing unexpected treasures and developing an idiom that often seems to anticipate the years to come. In the program are sonatas for gamba and basso continuo (C.P.E. Bach's WQ 136 and C.F. Abel's B93 in A minor), Telemann's Fantasia XI for solo viol, two pieces by Abel from the Drexel Manuscript, and finally, the lesser-known Suite BWV 1025 by J.S. Bach, presented here in a version for viola da gamba and concertante lute. Also featured and playing a vital role in this project are the Duncumb brothers, two extraordinary chamber musicians: Emil on the fortepiano and Jadran, who already played on the debut album, on the lute.
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Awarded a Diapason Découverte, André Lislevand's debut album Forqueray Unchained (Arcana A486, 2021) celebrated one of moments of greatest splendor for the viola da gamba: that of the ancien régime in France. In this repertoire, the young musician proved to be "absolutely on top of his game and not afraid to explore the extremes of his instrument's aesthetic world, though without ever losing touch with le bon goût" (Early Music Review). The same youthful freshness and energy can be found in his second album, though here he explores the German repertoire of the central decades of the 18th century, a period that witnessed the gradual decline of the instrument, but was still capable of expressing unexpected treasures and developing an idiom that often seems to anticipate the years to come. In the program are sonatas for gamba and basso continuo (C.P.E. Bach's WQ 136 and C.F. Abel's B93 in A minor), Telemann's Fantasia XI for solo viol, two pieces by Abel from the Drexel Manuscript, and finally, the lesser-known Suite BWV 1025 by J.S. Bach, presented here in a version for viola da gamba and concertante lute. Also featured and playing a vital role in this project are the Duncumb brothers, two extraordinary chamber musicians: Emil on the fortepiano and Jadran, who already played on the debut album, on the lute.
