Joseph Bodin de Boismortier was sometimes called the French Telemann — and with good reason. Like his namesake, Boismortier had a facility for composition, producing a seemingly unending stream of music with ease. And like Telemann, it wasn’t just hackwork.
Boismortier knew what the public wanted — and wrote accordingly. But he did so without sacrificing quality. This release demonstrates that with music from his Op. 34 and Op. 37 collections. Published in the 1730s, these chamber pieces have the tuneful appeal of the Style Galante.
The Neumeyer Consort, directed by Felix Koch presents an attractive program. The Op. 34 quartets were written for a solo instrument with supporting basso continuo. As was the practice of the day, said instrument could be either a violin, transverse flute, or oboe.
The Consort uses varies the lead instrument for the quartets, making for a more interesting program. They do the same with the Op. 37 trios.
These are fine performances. Boismortier knew how to write a melody, and the consort seems to relish every one of them. Their playing has the refined elegance Parisien audiences of the day would have expected. But they also emphasize the dynamics, expressively shaping the music to engage the ear.
They certainly engaged mine. Boismortier’s music has an immediate appeal, and the Neumeyer Consort celebrate that with this release.
Joseph Bodin de Boismortier: Trios, Quartets, and Concerto
Opp. 34 & 37