Moderation of tempo, tessitura, and dynamics, along with an avoidance of extravagant ornamentation, was the musical aesthetic of the day.  Standage and Nicholas Parle indeed achieve a remarkable balance of all of these elements that leave the listener perpetually spellbound. 

The purity of Standage’s intonation is striking, while the effortlessness with which he negotiates even the most difficult passages in the music greatly contributes to the sense of elegance that pervades the recording. The Allegro assai and Andante from the Sonata Op. 9/9, present a wonderful display of his skill and abound with ornamented fast passages, double stopping, and remarkably clear arpeggios.  Standage’s sense of phrasing is especially brought out in a moving, but nevertheless graceful, performance of the Andante second movement of the Sonata Op. 9/8.  

Parle’s continuo playing is remarkably sensitive, reinforcing the momentum of the music without getting in the way of the solo line.  His significant talents are further highlighted in three numbers for solo harpsichord which are spread throughout the recording; the last one of these, a Rondeau from Duphly’s La Forqueray, is particularly memorable for its beautiful and highly atmospheric phrasing and ornamentation.
ZAK OZMO

Violin Sonatas
JEAN-MARIE LECLAIR
Simon Standage, Nicholas Parle
Chaconne CHAN 0726
2005 - 79:33 min.