Thursday, November 11, 2021

Midtown Concerts (11/11/21)

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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