Assai Ad Libitum (3/6/25)

A Gotham Early Music Scene concert

Patricia Garcia Gil ~ pianoforte; Sophie Genevieve Lowe ~ violin; Ryan Lowe ~ violoncello
The Great Fear: Musical Exiles of the French Revolution

Sonatine No. 2 in E minor for Violin and Violoncello, Op. 49 – Pierre Louis Hus-Desforges (1773–1838) – Allegro Maestoso; Minuetto

Sonata for Fortepiano, Violin, and Violoncello, Op. 2, No. 3 – Hélène de Montgeroult (1764–1836)
Agitato assai; Adagio; Vivace con espressione

Keyboard Trio in F minor, Ben. 442 – Ignaz Joseph Pleyel (1757–1831)
Allegro espressivo; Tempo di minuetto

Here was the hook. All three composers were writing/performing in and around the time of the French Revolution. It was a pretty thin string for me. And if you notice the dates of the composers, they are significantly later than most GEMS concerts that I attend, not that there's anything wrong with that. That said all three were new to me, as composers. I have heard of Pleyel as a piano builder/manufacturer, but I had not heard his music (that I know of).

On to the music. The first movement of the Hus-Desforges duet was rather calm for an Allegro, though it did get a little livelier, with a nice range of dynamics. The Minuetto was appropriately dance-like, in a slightly somber way, but playful at times.

A note about the pianoforte. It's also called a fortepiano (go figure). At any rate, it's an earlier version of a piano (it has hammered thin strings) as compared to a harpsichord (with plucked thin strings). So the sound is thinner than a piano but slightly denser than a harpsichord. Have I confused you yet? Or bored you? Again, on to the music. The first movement of the de Montgeroult had a tinkly sound from the keyboard (see above) and a nice interplay between all three performers. There was a robust center section that then morphed into a quiet ending. The Adagio had a lengthy pianoforte/cello opening, then the violin joined in. There was a nice sense of calm, with a touch of urgency added, creating a fullness, and the movement ended quietly. After retuning (violin and cello), the final movement was bright, lively, and a lot of fun. Emphasis on a lot of fun.

After more retuning, the Pleyel had a fairly dramatic opening—darkly brooding. There was a contrasting bright, cheerful section that had an expansive feel, with all three instruments equally weighted. Though it was lengthy, it had some lovely phrases and some lively phrases. The second (final) movement was lilting and graceful, and there was a slightly darker, heavier section before returning to lightness. Light, but not frivolous. It had a strong ending that was warmly applauded by the audience.

ConcertMeister