Gotham Early Music Scene (GEMS) presents
Thursday, November 20, 2025 1:15 pm
St Malachy’s Church – The Actors’ Chapel in New York City Live Streamed to YouTube
As The Crow Flies
Eliana Estrada & Ryan Cheng ~ violins Pearl de la Motte ~ viola
Luka Stefanovic ~ violoncello Josue Reyes ~ bass & percussion
Nathan Mondry ~ harpsichord & percussion Dani Zanuttini-Frank ~ guitar
Overture to LaSpinalba Francisco António de Almeida (ca. 1702–1755)
Presto ~ Andantino a mezza voce
Prelude in F Major Pedro Lopes Nogueira (ca. 1700–ca. 1770)
Concerto Grosso VII in F Major Antonio Pereira da Costa (ca. 1697–1770)
Preludio. Largo – Allegro ~ Corrente ~ Adagio ~ Allegro ~ Allemanda
Minuete
Antonio da Silva Leite (1759–1833)
Trio Sonata No. 3 in C Major Pedro Antonio Avondano (1714–1782) Adagio ~ Allegro ~ Largo ~ Allegro
Pavana from ÉvoraBibliotecaPublica
Anonymous arr. Rogério Gonçalves
Tarambote from Manuscrito50doMosteirodeSantaCruzdeCoimbra Anonymous
Sinfonia in D Major for Strings
Pietro Giorgio Avondano (1692–ca. 1750) Allegro ~ Adagio ~ Allegro
Midtown Concerts are produced by Gotham Early Music Scene, Inc., and are made possible with support from St. Malachy’s Church–The Actors’ Chapel, The New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature; public funds from the New York City Department of Cultural affairs in partnership with the City Council; the Howard Gilman Foundation; and by generous donations from audience members.
Gotham Early Music Scene, 340 Riverside Drive, Suite 1A, New York, NY 10025 (212) 866-0468
Robby Meese, Midtown Concerts Manager Toby Tadman-Little, Program Editor Naomi Morse, Director of Marketing
Paul Arents, House Manager Luce Burrell and Kylie Sterling, Concert Managers Christina Britton Conroy, Announcer
Gene Murrow, Murat Eyuboglu, Dennis Cembalo and Christina Britton Conroy, Live stream Crew
Gloria Latona, Joseph Latona and Roberta Pikser, Volunteers Harpsichord generously provided by Rebecca Pechefsky
John Thiessen, Executive Director
ABOUT THE PROGRAM
Pombalino draws inspiration from the remarkable reconstruction of Lisbon following the devastating 1755 earthquake. Like Paris, Vienna, London, and Dresden, Lisbon was a thriving hub of music during the 17th and 18th centuries. The city’s wealth, built on spices, gold, and diamonds from South America, made it a bustling port. Its strong defenses had long made it impervious to siege, but the earthquake followed by a deadly tsunami and destructive fires obliterated much of the city, including invaluable musical manuscripts housed in its libraries. The program takes its name from Sebastião José de Carvalho e Melo, the Marquês de Pombal, who oversaw the reconstruction. The Pombalino architectural style he introduced was revolutionary, featuring flexible wooden structures designed to withstand earthquakes. While Lisbon’s aristocracy was not particularly partial to the style’s simplicity, which eschewed ornate decoration, it became a symbol of resilience. In the same way, the music chosen for this program reflects both the heritage of pre-earthquake Lisbon and its rebuilding after the disaster. Works by Costa, Leite, Almeida, Avondano, and Nogueira encapsulate the musical richness of Portugal before and after the earthquake. Costa's Concerto Grosso in F Major shows the influence of Italian Baroque, while Almeida’s Overture to La Spinalba shines as an emblem of Lisbon's vibrant operatic scene. The pavane, preserved in the Évora Biblioteca Pública archive, offers a glimpse into Portugal’s ties with Spain, showcasing villancicos from the period. Leite’s minuet fuses the virtuosity of the Portuguese guitar tradition, rooted in fado, with the elegance of Western European dance forms. Together, these works illustrate a musical landscape as interconnected and resilient as the interlocking Pombalino tile patterns that symbolize the city’s rebirth.
ABOUT THE ENSEMBLE
As The Crow Flies is an early music ensemble made up of musicians from The Juilliard School and the Koninklijk Conservatorium den Haag. Its members have performed globally with ensembles including Les Arts Florissants, De Nederlandse Bachvereniging, Gaechinger Cantorey, Apollo’s Fire, Smithsonian Music Society, and American Bach Soloists. By exploring the historic trade routes of the past, the ensemble uncovers and brings to life long-lost musical treasures. Through their performances, As The Crow Flies deepens our understanding of historical performance practices, offering new perspectives on the rich tapestry of early music.
