Gotham Early Music Scene (2/19/26)

An Das Klavier
Alissa Duryee ~ clavichord 

Preludium and Fuga in G minor BUX 163 – Dietrich Buxtehude (1637−1707) 

Sonata II in D minor – Anonymous, Moravian (notebook dated from 1753)*
Adagio ~ Allegro ~ Largo ~ Allegro 

Suonata Seconda: Saul malinconico e trastullato per mezzo della Musica – Johann Kuhnau (1660−1722)
La tristezza ed il furore del Ré
La Canzona refrigerativa dell' arpa di Davide
L'animo tranquillo e contento di Saulo 

Sonata X in E Major – Anonymous, Moravian (notebook dated from 1753)*
Adagio ~ Allegro 

Sonata in A Major – Marianna Martinez (1744−1812)
Allegro ~ Rondo – Adagio ~ Tempo di Minuetto 

Variations on a Suabian Theme – Peter K. Moran (1767−1831)* 

*Music taken from sources in the Moravian Archives of Bethlehem, PA. Thanks to the archivists who facilitated access to them.

**I'm not sure I really got the Moravian connection, but it was interesting to hear those compositions juxtaposed with the European compositions. (Too much book larnin'?)

Per Wikipedia (hey, I take all the help I can get) – The clavichord is a stringed rectangular keyboard instrument that was used largely in the Late Middle Ages, through the Renaissance, Baroque and Classical eras. Historically, it was mostly used as a practice instrument and as an aid to composition, not being loud enough for larger performances. The clavichord produces sound by striking brass or iron strings with small metal blades called tangents. Vibrations are transmitted through the bridge(s) to the soundboard. (Class dismissed.) 

Ms. Duryee’s clavichord was built in 2011.

The Preludium began gently and quietly, partially because the clavichord is a very quiet instrument (see Wikipedia, above). The fugue had a little more energy but only slightly more actual sound because of the density of the chords. All four of the Sonata’s movements were similar except for tempo distinctions. I found the quicker movements more interesting. 

The first movement of the Kuhnau Suonata (a composer new to me) was a little darker, with a bit of substance that I enjoyed. In the second, I certainly got the feeling of a harp as referenced in its title, while the third sounded like a conversation—albeit a quiet conversation—also with a dark feeling. 

In the fourth work, it was difficult to tell where movements ended, including the second movement which ended the work. 

Marianna Martinez (I have also seen her name as Marianne Martines) was active in the Vienna music scene, somewhat rare for women in that era. Her composition seemed to be advancing the musical form and was more inventive. It was also easier to be aware of the individual movements, with the fourth being quite bright and pleasant. 

The variations alluded to in the title of the last work on the program were based on Ach, du lieber Augustin (since it’s essentially a folk tune/song, it’s alternatively known as O du lieber Augustine—take your pick). At any rate the tune was known to relatively everyone in the audience, the variations were a lot of fun, and it was a light-hearted way to end the program. 

With all of that said and enjoyed, I think a clavichord concert is a one and done for me, primarily because of the quiet sound production which led to a lot of similarities in the pieces. 

ConcertMeister

Gotham Early Music Scene (2/5/26)

Brooklyn Baroque
La Dédicataire: Music Written for Women

Melanie Williams ~ flute   Serafim Smigelskiy ~ violoncello   Rebecca Pechefsky ~ harpsichord

Sonata in D Major for Harpsichord & Flute, Op. 16, no. 5 – Johann Christian Bach (1735–1782)
Allegro con Spirito; Rondo: Allegretto

Sonata in G Major for Flute & Continuo, Op. 9, no. 7 – Jean-Marie Leclair (1697–1764)
Andante; Allegro ma non troppo; Aria: Affettuoso; Allegro moderato

Sonata in C minor, K.11 – Domenico Scarlatti (1685–1757)
Sonata in F minor, K.184 

Trio in D Major for Flute, Cello, and Continuo – Christoph Schraffrath (1700–1763)
Allegro; Adagio; Allegro

The first movement of the first work was bright and brisk. The harpsichord part had rapid fingering, the flute not so much. While most of the flute part was in its upper register, there were also some lovely low tones. The second movement had a solo harpsichord opening and then the flute joined in. It was very similar to the first movement, though the harpsichord had more solo time here. 

The first movement of the second sonata was gentle and very pleasant for all three players. The second was brisker and fuller, especially as far as volume was concerned, and had a playful use of pauses. The third was calmer but not somber in the least. It included a perkier middle section which then returned to calm, while the fourth was fuller again, bright and jaunty—not quite off to the races, but it seemed as though it wanted to be. 

The third and fourth pieces were single-movement harpsicord solo sonatas. The first was mostly bright, though there were a few contrasting sections. The second was similar and, oddly, somehow F minor sounded a little brighter than C minor. These were only two of Scarlatti’s 555(!) keyboard sonatas. 

The trio that closed out the program was by the only composer who was new to me. He fit right in with the others. After retuning (the cello) the first movement had a cello/harpsichord opening, the flute joined the fun, each of them got a moment to shine, and the movement was fleet without being too fleet. The second movement also had a cello/harpsichord opening and then the flute joined in again. While the tempo was slower, it was not maudlin or mournful at all. The brisker third movement was—wait for it—cello/harpsichord followed by the flute. It was fuller, almost as if the composer was out to prove something in order to finish the work: “Hey, Ma, look what I can do!” 

A note about the harpsichord—it’s on loan from Ms. Pechefsky and has been used in several other GEMS concerts that I’ve attended. It was nice to put a face to the name. 

ConcertMeister