Violin Sonata No. 1 in D minor – Élisabeth Jacquet de La Guerre (1665–1729)
[untitled] ~ Presto ~ Adagio ~ Presto ~ Presto ~ Aria ~ Presto
La Ménetou, from Pièces de Clavecin, Second Livre, Ordres 7 – François Couperin (1668–1733)
Three Airs sérieux – Charlotte Françoise de Ménethoud (1679–1745)
E ne fuis qu’un bergère with words by Monsieur de Mesange
Louis fuel attaqué with words by Monsieur Le Président de Montbrun
Plus jeun qu’Alexandre with words by Monsieur de Fieubet
Prélude and Passacaille in A minor – Élisabeth Jacquet de la Guerre
Violin Sonata in A Major, Op. 5, No. 6 – Arcangelo Corelli (1653–1713)
Grave ~ Allegro ~ Allegro ~ Adagio ~ Allegro
The first movement of the violin sonata was slow and gentle, then picked up a little in volume; it seemed like an introduction to the work, though a fairly long introduction. The second movement was bright and jaunty. The third was slower and somber, with the violin playing in its lower register. It led directly (attacca) into the fourth, which went back to jaunty with a calm section that followed and led right into the fifth movement which was bright, if not quite as jaunty as the earlier presto movements. The sixth movement had lines in the violin that actually sounded like singing—duh! it’s an aria—somber and almost plaintive. Just as I wrote the words ‘quite lengthy’ it ended. The final movement was brisk and almost happy, except for being in a minor key.
As announced from the stage, François Couperin was Françoise de Ménethoud’s teacher, and his piece seemed to be written for his young pupil. It was a harpsichord solo that was fairly calm throughout the entire work, and was presented as an introduction to the next three pieces. Mlle. Ménethoud was about eleven years old when she wrote them. If I’m remembering correctly, they were probably meant to be sung—here, the violin acted as voice again. The first had a harpsichord phrase as a brief prelude to the violin being added. It was quite pretty. The second was also pretty while the third was quicker and bright and gave a feeling of being a strophic song.
The fourth work on the program was another harpsichord solo that opened with an introduction leading to a mostly somber dance (minor key again), but there were also flashes of briskness, as well.
After retuning the violin, the first movement of the final sonata was sedate and pleasing—ah, a major key! The second movement had a brief violin opening before the harpsichord joined in. It was bright and upbeat and had a fun ending. The third was also brisk with a feeling of perpetual motion. [PHONE!]* The fourth movement was slower, and the harpsichord had an almost plunking sound, as if it wanted to be a dampened pizzicato. And before the final movement, I saw the harpsichordist make some physical adjustment that restored the keyboard to its usual plinking sound. The movement opened with a solo violin phrase before the harpsichord joined in (just as in the second movement). It was brisk again and fun-sounding. Indeed, a fun ending to a fine concert.
ConcertMeister
* I've been attending this concert series for several years. At every concert, it is announced from the performance area that if you have an electronic device that makes a noise that was never heard in the 15th/16th/17th (depending on that day’s composers) century, please make sure that it does not make that sound for the next 45 or 50 minutes or so. (<--- That is close to verbatim.)
