Les Goûts réunis
Virtuoso Works by Italian and French composers
Cléa Galhano, recorder; Peter Sykes,
harpsichord
Sonata Prima à solo (1629) – Dario Castello
(c.1602–1631)
Sonata Seconda (1641*) – Giovanni B.
Fontana (1571–c.1630)
Toccata III in G Major – Johann
Jakob Froberger (1616–1667)
Troisième livre de pieces de clavecin
– Francois Couperin (1672–1733) – Le Rossignol-en-amour, La Linote-éfarouchée;
Les Fauvétes plaintives; Le Rossignol vainqueur, La Julliet; Le Carrillon de
Cithére; Le Petit rien
Sonata IV – Francesco Mancini
(1672–1737) – Spiritoso; Largo; Allegro; Largo; Allegro Spiccato
*Date the work was
published
Recorder/harpsichord music is not everyone’s cup of tea, and
while I enjoyed the concert, there was so much sameness that I wish there had
been a way to mix it up a bit. But hey, I’m not complaining—I got to hear live
music. (They also live stream their concerts to midtownconcerts.org and
YouTube.) The series is under the auspices of Gotham Early Music Scene
(gemsny.org). Whew! I think I’ve covered all of the techie stuff. Oh, masks
were required as well as proof of vaccination. The concerts take place on
Thursdays at 1:15pm at Church of the Transfiguration – 1 East 29th Street, New
York, NY.
The first piece was a duet that had a subdued harpsichord
introduction followed by quick (though not frantic) finger work from the
recorder. There was a nice back and forth of slower/quicker tempos and phrases.
The second was also a duet with a quiet opening that also
included a few subtle flourishes. It was similar in style to the first piece, though
the individual sections were a little longer and they linked together a little
more smoothly.
The Froberger Toccata was for solo harpsichord. Speaking from
the keyboard, Mr. Sykes explained that Froberger traveled widely and that this
piece was in the Italian style. He also informed us to listen for what has been
referred to as the Froberger Rocket—a very rapid scale that could be running up
or running down, always with a brief pause at the end. There were supposed to
be four of them. I only heard the fourth and final one, but it was well worth
the wait, almost like a ta-da! at the end of the piece.
Ms. Galhano switched to a soprano recorder for the fourth piece.
It was smaller and produced a higher range than the recorders she had used
previously. The first and third movements (as their names implied) each had two
distinct sections. The first section of the first movement was relatively
subdued while the second section was more rapid and included a few solo
harpsichord phrases. The second movement was entirely solo harpsichord and was
indeed plaintive without being maudlin. The first section of the third movement
was a perky duet right out of the gate and actually throughout the entire section. The
second section was dancelike in 3/4 time. It was neither waltz nor minuet,
though it was very pleasant. The fourth movement (harpsichord solo again)
provided requisite bell-like tones and tolls. The final movement was a jaunty
duet, with the occasional harpsichord solo here and there.
The first movement of the final piece (another duet) was quick,
brief, and fun. The contrasting second movement was slower and also relatively
brief. The third movement was in a faster tempo again and seemed to be the
centerpiece of the work in terms of complexity and back and forth banter. The
slower tempo of the fourth movement was a contrast again and there were longer,
less detailed phrases, a few flourishes thrown in for good measure, as well as
a feeling of humor. The final movement was brisk (not quite Off to the
Races—but close), with lots of fleet, fancy finger work from both players, but
mostly from the recordist.
Next week is another duo, but they didn’t post what it’s a duo
of. I’ll scope it out and see whether or not I want to attend. Ditto for Dec.
2. But Dec. 9 is definitely on my watchlist—Washington Cornett and Sackbutt
Ensemble. Did I mention how great it is to be able to go to free, live concerts
here in NYC again? It is!
ConcertMeister
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