This concert was under the auspices of Gotham Early Music Scene.
Ela Kodzas, violin; Nuria Canales Rubio, flute; Ryan Cheng, violin & viola da gamba; Allen Maracle, violoncello; Nathan Mondry, harpsichord
Suite en trio No. 1 in G minor, from Livre de Simphonies, Op. 1 ~ Louis-Antoine Dornel (1680–1765) [six movements]
Sonata 4 in D minor from Sonates pour un flute traversière par accords ~ Joseph Bodin de Boismortier (1689–1755) [four movements]
Sonata No. 2 in D minor from Livre 3: Sonates pour le violoncelle ~ Jean Baptiste Barrière (1707–1747) [four movements]
Paris Quartet No. 4 in B minor from Nouveaux Quatuors ~ G.P. Telemann (1681–1767) [six movements]
Obviously, I'm not going to name every movement of every work—in fact, sometimes they sort of blended into one another. One caught my eye, however. The last movement of the Telemann – Meneuet – flipped with the fourth – Vite. I could only find Menuet as a spelling. But I digress.
The first work was for flute, violin, cello, and harpsichord. A note, here, the harpsichord was omnipresent, as continuo, though it was featured more fully a few times. Continuo sort of means always there, as a base for the work.
The second was for violin and flute. OK, I'll get these out of the way from the get go. All of the movements for all of the works included lively, calm, brisk but not frantic, dance-like in a genteel way, brighter, and fun, etc.
One of the works included viola da gamba and cello. As a result, all of the movements had a bit more heft, because of the presence of lower strings. But the flute was also there, to brighten things up.
The Telemann managed to skip the George/Georg quandary. By flipping the fourth and sixth movements, the ensemble ended up on a bright note. I imagine this type of thing also occurred regularly in the 1700s.
Three of the four composers were new to me, which is fairly rare. But I'm always happy to learn.
ConcertMeister
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