But if we explore the meaning of the term 'galant' in the context of the Englightenment, we soon discover that it varies according to the country, the composer, and the work under consideration. This is certainly true of Guillemain, who primarily earned his living as a virtuoso violinist, and, like Jean-Marie Leclair, attempted to reconcile the French and Italian goûts in his numerous compositions. (Discouraged by financial difficulties, Guillemain committed suicide in 1771 on the road from Paris to Versailles, where he was a member of the Queen's retinue.)
The four Quatuors pour flûte traversière et violin heard here do not always exemplify what the Italians meant by the 'galant' style in the same period. The pieces favor harmony, euphony, and melodic clarity even during the frequent highly virtuoso passages. When one looks for comparable compositions in the Europe of the time, one cannot help thinking, strangely enough, of the 'late' Bach.
The French style, with its happy, hedonistic sound and its pastoral touches in the slow movements, is very different. The small Poema Harmonico ensemble flirts with excellence throughout this CD, and uses the volatile perfume of the French spirit, which remains elegant, graceful and good-natured throughout,to good advantage. Guillemain, awakened from his long slumber, is not just another 'minor master', and the Poema Harmonico ensemble - whose agile flautist Guillermo Peñalver deserves a special mention - is his eloquent advocate. ROGER TELLART