Suite & Trio Sonatas


This program, that we have chosen to design around the genre of the trio sonata, was born out of a commission from the Philharmonie de Paris. On this occasion, Bruno Reinhard constructed a facsimile of a very beautiful flute by an English maker contemporary with Handel, Thomas Stanesby Junior.
However, the opportunity given to Violaine Cochard, harpsichordist and co-founder of the Amarillis ensemble, by the Music Museum to play on a remarkable English Longman and Broderip harpsichord, led us to propose to compare these trio sonatas, pieces for solo harpsichord played only on the harpsichord or instrumented by us for our training.
So, we wanted to create twoImaginary suites in the spirit of the series of dances and to propose an order according to our favorites, by favoring the diversity of instrumental colors and shapes.
Finally we asked a contemporary composer, Erik Desimpelaere, to transcribe the pieces ending each suite - an Aria with variations and a Chaconne- for trio training with basso continuo.
Give to hear a melody without words in its most intimate expression, this is Handel's challenge to us, this man with a universal mind, passionate about painting and who knew how to translate into music the whole range of human feelings.

Recorded at the Cité de la musique-Philharmonie de Paris, in the Cité de la Musique building designed by the architect Christian de Porzamparc, on two instruments from the National Music Museum : a harpsichord 1 clavier Longman and Broderip (London, late eighteenthe century) and the facsimile of the alto recorder in fa de Thomas Stanesby Junior (London, second quarter of the 18th centurye century) directed by Bruno Reinhard in 2017.


Diapason 4****

ResMusica Take Away

On-top Audio 5/5

The Bulletin Board 4 ****

Pizzicato 5 ♪♪♪♪♪

Now Classica 3 ***

Musikzen Almost ideal


Diapason { avril 2018 } Ivan A. Alexandre

"We are here for the flute. She is the one who dominates the discussions, she who holds the upper part of the trios (the other returns to Alice Piérot's attentive violin, fortunately twice alone in the second "Imaginary Suite") she who sings, and dance, and anime […]. The violin pierces here or there; the harpsichord delivers a wonderfulGermanfromSuite in D minor (nicely decorated on the occasions) ; Annabelle Luis's cello supports the ensemble with devotion; but the party queen dictates her law. It is called E.980.2.82 [facsimile of the famous Thomas Stanesby's recorder in the Paris Music Museum] ».

On-top audio { 08 August 2018 } Jean-Pierre Robert

"The inventiveness of both adaptation and the assembly of parts, the delicacy of the game, of the flautist in particular, the care in the phrasing, the vitality with which the musicians seize this music, not to mention a constant conviction, make this record a real moment of happiness. »

ResMusica { 20 avril 2018 } Cecile Glaenzer

“The performers have chosen to group together extracts from suites for harpsichord and sonatas for top and basso-continuo, in order to create two imaginary suites alternating slow and fast movements, in the tradition of the dance suite. The two suites each end brilliantly with a transcription for instrumental trio of two large pieces with variations written for harpsichord., an Aria and a Chaconne. Heloise Gaillard's flute and Alice Piérot's violin respond to each other in a virtuoso fireworks display that pays a perfect tribute to Handel's melodic genius. Also note, the quality of the basso continuo under the fingers of Violaine Cochard on the harpsichord, supported by the cello of Annabelle Luis. "

The Bulletin Board { 24 October 2018 } Loïc Chahine

“The disc also pays tribute to the instruments of the Musee de la Musique in Paris : a facsimile of Thomas Stanesby Junior's alto flute directed by Bruno Reinhard, that Heloise Gaillard summons with as much precision as warmth - what phrasing ! - and an English Longman harpsichord & Broderip, highlighted by some very beautiful solo pieces played by Violaine Cochard, whose touchingMenuethwv 434.
If a few measures are enough to recognize Händel and his characteristic melodies, found in chamber music explored here as well as in operas or oratorios, you have to be guided by a sure taste to make a successful record. It is through a mixture of commitment and class that Amarillis achieves this. All, here, sounds true - not obviously the technical correctness of the heights, but that of expressions and intentions. […] Händel, writes Héloïse Gaillard in the booklet, is a composer who has accompanied the ensemble for a long time ; with this third recording dedicated toDear Saxon, Amarillis signs a big vintage record. »

Gramophone { July 2018 }Charlotte Gardner

« The first thing to hit your ears is how exceptionally bright and immediate the sound is…There’s also real vitality and conviction across the disc, as you might expect from such a labour of love…All in all, great stuff. »

Pizzicato { June 2018 }Uwe Krusch

«The skills of the musicians are beyond doubt, so that the differently cast works offer a varied sample of the work of perhaps the most skilful self-marketer of the time, which simply makes you want more while listening. The arbitrary composition of the sentences creates a new reading that differs from fixed compositions. »
« Here we have an attractive Handel program, in persuasive and inventive performances from ensemble Amarillis. Highly recommendable. »

Music education { avril 2018 } Edith Weber

"Such an original approach in which the spirit of the melody reigns, never losing sight of lyricism. […] This achievement is imposed by the timbric diversity also emerging from theSecond Suite (extract) for solo harpsichord (1720) and by the primacy given to melody and emotion : " Assured crush. "

Now Classica { June 2018 } Colin Clarke

« This is a lovely programme, juxtaposing ‘pure’ Handel Sonatas from Op 2 with constructed suites from diverse pieces ("Imaginary suites"). […] The second constructed suite is remarkably slick and stylish). Solo harpsichord movements provide contrast, confidently performed by Violaine Cochard. […] Performed with a suave sense of style, the slow movements gentle and sophisticated. »

Publication March 16 2018
Label Evidence classics
Distribution Harmonia Mundi



Heloïse Gaillard, recorders

Violaine Cochard, harpsichord

Alice piérot, violin

Annabelle Luis, cello

Florent Marie, théorbe

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