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Joseph Haydn: Cello Concerto n° 1 in C major (cadenza: C.‑P. La Marca), Hob.VIIB:1 – Cello Concerto n° 2 in D major (cadenza: M. Gendron), Hob.VIIB:2
Nicola Porpora: Cello Concerto in G major: “Largo” – Gli orti esperidi: “Giusto amor tu che m’accendi” [1]
Wolfgang Amadeus Mozart: Sinfonia Concertante in A major (for violin, viola and cello (frag), K.320E Ahn. 104 (comp./reconstruct: R. Levin/J. Chauvin [2, 3]
Christoph Willibald Gluck (trans. C.‑P. La Marca): Orphée et Eurydice: “Danse des ombres heureuses”

Philippe Jaroussky [1] (countertenor), Christian-Pierre La Marca (cello), Julien Chauvin [2] (violin), Adrien La Marca [3] (viola), Le Concert de la Loge
Recording: Temple du Saint‑Esprit, Paris, France (February 27‑30, 2021) – 72’01
Naïve Classique V 7259

With Christian-Pierre La Marca comes discernment: the esteemed Frenchman thirsts for introspection. Understanding the connection between composer and cello is key to M. La Marca’s interpretation. The universality expressed in his 2020 recording, “Cello 360” clearly demonstrates the instrument’s timeless fascination as he backs into the music with incomparable elegance and emotion. This time, M. La Marca uses the concerto as the vehicle to interrelate composer, musician and singer. The CD’s moniker, “Legacy”, passages the listener to better understand the development of the instrument during the Classical Period.

Christian-Pierre La Marca’s successes stem from exercising restraint without over-empowerment. The CD nicely pivots two pieces by Nicola Porpora, the primary cornerstones and kickoff points for the remaining œuvres. We first encounter the amiable yet methodical “Largo”, an extraction from the Cello Concerto in G major. It’s a fitting post-segue to accentuate Haydn’s stylish and well-proportioned Cello Concerto n° 1 in C major. Indeed, Porpora’s influences are vastly noticeable. Particularly attractive is M. La Marca’s impeccable diction as he addresses the magical third movement, “Allegro molto”. As a footnote, Haydn highlighted the Italian’s fundamentals in ensuing years...after all, Nicola Porpora was Haydn’s mentor. Paired in a second contrast, we encounter countertenor Philippe Jaroussky’s richly vibrant timbre as he blissfully adds graceful distinction. Again, we pick up Porpora fundamentals while moving alongside Haydn’s delicately genteel Cello Concerto n° 2 in D major, filled with stately repose.

Refreshing and outstanding is Mozart’s fragmented Sinfonia Concertante, seldom-heard but re‑energized with the addition of Julien Chauvin’s illustrious violin and the viola reflections mastered by Christian-Pierre La Marca’s brother, Adrien. The interplay is exceptionally uplifting and masterful.

On a more profound note, “Legacy” arrives with an especially grave and deep grounding of Gluck’s “Danse des ombres heureuses”. Here, Christian-Pierre La Marca bathes the piece with a soulfully rich tapestry.

Christian-Pierre La Marca’s cello dominion is finely‑tuned inside “Legacy”. His delivery is exceptional and divine. Flawless while steeped in empathetic civility and propriety.

Christie Grimstad




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