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