Hélène de Montgeroult (1764-1836)

Nationality: French

Born: March 2, 1764, Lyon Died: May 20, 1836, Florence (age 72)

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Sonata in a minor, Op. 2, Trois Sonates pour le forte piano, No. 3

(for violin and piano)

7:55	I.	Agitato
8:34	II.	Adagio
3:12	III.	Vivace con espressione

Duration: 20 minutes (approximately)

Published: 1800 (?) , Paris (age 35-36)

1 recording, 3 videos

autoopen autoplay

7:55

Sophie Rosa, Ian Buckle

I. Agitato

8:34

Sophie Rosa, Ian Buckle

II. Adagio

3:12

Sophie Rosa, Ian Buckle

III. Vivace con espressione

Related Composers

glossary

accompanied sonata—A unique genre of chamber music (c. 1735-1835, Newman) written primarily for keyboard (harpsichord or piano) with optional (ad libitum) or relatively basic (doubling keyboard part or independent but simple parts) "accompaniment" by such instruments as violin, flute, cello, etc. Originally intended for skilled keyboardist optionally joined by Royal, domestic or otherwise amateur players. Often designated by titles like "Sonata en trio" or "en quatuor" with "ad libitum" or inferred by time period and the nature of the parts. Distinguished from older sonatas using basso continuo, those using terms like "obbligato" or "true" chamber music from the Classical era forward.
ad libitum [L], come piace [I], à béneplacito [I]—at one's pleasure, at will, at one's discretion. For instrumentation, it means optional (vs. obbligato). For musical passages, it suggests a free treatment, improvisation, liberal interpretation, etc.
adagio [It]—slow tempo, often implying a lyrical, poignant character
agitato, agité [F]—agitated, restless, excited
chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
con [I,S]—with
duo, duet, dueto [S], duetto [I], duett [G]—a work for two instruments; the ensemble itself
opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
sonata [I], sonate [pl], suonato—Originally, "sounded" rather than "sung" (sonar vs. cantar), i.e. instrumental music. According to historical period, sonata began to imply a formal plan of movements as well as the structure within a single movement, e.g. "sonata form" and applies to instrumental sonatas, string quartets, symphonies, etc., all examples of the sonata principle. In general usage as a specific work title (e.g. violin sonata), it designates a multi-movement piece for solo or duo instruments with one of the instruments enjoying a feature role. wiki
violin sonata, sonata per violino [I], sonate pour violon [F], Violinsonate [G]—a multi-movement work for violin and keyboard (or continuo) though there are sonatas for solo violin as well as sonatas in a single movement. While the violin would seem to be the featured instrument, many sonatas starting with the classical period find the piano to be an equal partner in the sense of a chamber work for two players. Explore the violin sonata. | wiki
vivace—brisk, lively tempo faster than allegro