Very good news: the French pianist Éric Le Sage leans on Mozart. His partner here is François Leleux, who was best known as an oboist and who converted to conducting. The parallel is tempting with the Mozart career of Jean-Efflam Bavouzet at Chandos. We find precisely in Le Sage/Leleux the antidote to the suspicion of disappointment engendered by the Bavouzet/Takács-Nagy tandem linked to this little side of stilted elegance, which remains on its own. The musical dish served by Le Sage, Leleux and the Swedes, offered by a clear capture, is more chamber music, more transparent, sunnier, more sparkling than the more coated subject of the Manchester Camerata. The highlights of this CD, which we hope will be a 1er volumeof the great concertos, are a largeghetto of 24e Concerto taken “à la française”, in an uplifting breath, and the choice of a rare cadenza by Fauré for the 1er part of this 24e Concerto. The whole, between the dramatism of 24e and the exuberance of 17eexudes tact and class.
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