L’ange et le diable - C. Siranossian with J. Immerseel

• Performers: Chouchane Siranossian, violin; Jos van Immerseel, harpsichord
• Label: Alpha
• Recorded: July 2015; Conccertgebouw Brugge
• Producer and Mastering: Stephan Schellmann

I somehow neglected to explore this release from nearly a decade ago. The theme has been done before, if I remember, by Manfredo Krämer, only focusing on works by Locatelli and Leclair; this album goes further to include other composers to have been adorned with these labels, Antoine Forqueray and Tartini, for his “trill” sonata.

The liner notes, incidentally, are written by Reinhard Goebel, who in his usual interesting take, harkens back to non-HIP performances alongside those in HIP-guises that he wants to throw away, perhaps, in light of this new recording, by the so-called next generation of HIP interpreters.

As usual, Siranossian’s sound and style come together for a very engaging listen. Less familiar to my ears is Immerseel on the harpsichord, me knowing him, at least, more as a fortepianist and conductor.

The intricate nature of these showpieces lead some violinists to play these without a continuo; using a single keyboard seems appropriate to me, as we have probably overdone the cello/keyboard option too many times over. The balance here seems to work well in this production.

The Leclair op. 9 no. 8 sonata, fourth movement Tempo di Ciaccona is so well executed by Siranossian. Her style doesn’t exclude dynamic variation and subtle and not-so-subtle changes in attack and articulation. I always felt that she owned this music as it came out beautifully from my speakers.

The music presented by Forqueray is adopted from a suite for bass viol here for harpsichord solo. It reveals Immerseel’s command of the French style, I think. The solution here feels very much a keyboard work, with ample richness, despite its genesis as a piece for a bowed tenor instrument.

The final work is Tartini’s Devi’s Trill, here accompanied by harpsichord. Manze was one to try this sonata without another instrument, given the composer’s description of the dream that inspired this piece (he mentions playing alone). This solution with keyboard and violin is a good compromise.

Siranossian takes full advantage of the very cavernous space they’ve used as their recording venue with her presentation of the second movement. Her trill isn’t maybe what we’re used to, but the effect harkens to the demonic source of the theme. The way her instrument can be pushed to really fill out the hall’s space is remarkable. As Goebel writes, this is music that isn’t strictly academic in its approach.

In total I am betting this music would have been no less moving to a baroque audience than it is to us today. Great recital!