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10/31/2025
“Les Délices de la solitude”: 6 Sonatas for 2 cellos
Michel Corrette: Sonatas: n° 1 in F major, n° 2 in D minor, n° 3 in C major, n° 4 in B‑Flat major, n° 5 in G major & n° 6 in D major, opus 20
Michelle Kesler, Miranda Wilson (cello)
Recording: Recital Hall, Brigham Young University, Provo, Utah (November 2024) – 48’08
MSR Classics MS 1832 – Booklet in English
Within the classical music canon, works by Michel Corrette (1707‑1795) would likely be obfuscated by better-known composers such as Pergolesi, Gluck and Carl Philipp Emanuel Bach. Nonetheless, Corrette’s musical output was sizeable and significant. Following in the footsteps of his father, Gaspard, he went on to make a prosperous living as a music teacher, even though he was trained as an organist. This Frenchman tapped into a variety of genres: opera, concertos, cantatas and chamber music, to name a few. Bridging between the Baroque and Classical eras, Michel Corrette also moved into music method books for the harp, bassoon, flute, mandolin and even stringed instruments, including the cello. Les Délices de la solitude, translated as, “The Delights of Solitude”, is an aptly bracketed nomenclature.
The word, solitude, doesn’t necessarily fall into the absolute realm of loneliness, rather, it moves itself into spirited debates between two cellists, Michelle Kesler and Miranda Wilson. What frequently occurs in other recordings is a combination of solo cello and a continuo group; however, in this MSR Classics release we’re witness to the vivacious countenances in dialogue for two cellos. Deemed as duets, both artists fluidly move between rôles as cello I and cello II, allowing ample counterpoint to be revealed.
Movements inside each of the six Sonatas have their own spectacular pronouncements. As previously noted, the counterpoint is cleanly balanced and executed, while other forms of “texture” bring forth their own array of distinctive energies: from the “weepy” legato inside the “Aria affettuoso” (Sonatas n° 1 and 2), to the brevis “Preludio. Presto” (Sonata n° 5), the pattering imitations of galloping horses during Sonata n° 4’s “Bruit de chasse”, to the stately accentuations of “Allemande” movements (Sonata n° s 3, 5 and 6 that segue to the spritely triple‑metered “Sarabande” in each of the aforementioned passages.
Falling slightly under 50 minutes, this musical discourse of Mmes Kesler and Wilson is exceedingly reverential and politely engaging. “Balance with eloquent refinement” can best describe the discipline these two accomplished cellists bring to the Recital Hall. Any listener who’s interested in cello introduction would be well‑advised to select this flawless rendition of music by Michel Corrette. Acoustics are excellent as well.
...richly brocaded with genuine appeal for all.
Christie Grimstad
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