De Tact et d’élégance

Works by Graf, Haydn and Mozart

Traverso, violin, cello and harpsichord

Transition eras are not the most favorable to the creation of masterpieces, but they never cease to fascinate us. That is why, starting from the 1750s, the “gallant” style started to appear everywhere in Europe, clashing with the rigid baroque form. It lightened the soundscape, cultivated an easier, more flowing and “natural” melody, therefore creating a somewhat lighter music, in a good way. In the 1770s, the Austrian masters, namely Haydn and Mozart, gave real depth to these new practices, exploiting bithematism and expanding new forms of music. But they could not resist the elegance of the gallant style, which they continued to apply for some time, especially in their chamber music.

Program notes

Of Tact and Elegance: Gallant and Classic, by François Filiatrault

Offered in person and online

Limited seating
Broadcasted online

Saturday April 24 2021, 3:30 PM


In person

$35 Regular – $26,25 Fan favorite
$30 Senior – $22,50 Fan favorite
$10 30 and younger – $7,50 Fan favorite


$20 Single price – $15 Fan favorite

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Friedrich Hartmann Graf (1727-1795)
Trio for flute, violin and cello in D major (Two Quartets […], Two Trios […] Two Quintets […], Augsbourg, v.1780)


Joseph Haydn (1732-1809)
Sonata for keyboard nº 12 in A major, Hob. XVI.12 (before 1767)

Menuet & Trio
Finale (Vivace)

Friedrich Hartmann Graf
Sonata for flute and bass [continuo] nº 1 in C major (n.d.)

Tempo di Minuetto

Wolfgang Amadeus Mozart (1756-1791)
Sonata for violin and keyboard nº 21 in E minor, K. 304 (Six Sonatas, Paris, 1778)

Tempo di Menuetto

Joseph Haydn
Sonata for flute, violin and cello in C major op. 11 nº 5 (Six Sonatas for flute, violin & violoncello, Amsterdam, 1773)

Menuetto & Trio
Allegro molto

Les Boréades de Montréal

Founded by Francis Colpron in 1991, Les Boréades focuses on early music. The ensemble has chosen an interpretative approach in keeping with the spirit of the Baroque era, by adhering to the rules of performance practice of the past and playing on period instruments. Critics and audiences alike in Canada and abroad have been unanimous in hailing the group’s energy and spontaneity as well as its theatrical, expressive and elegant playing, indicative of a unique flair for Baroque aesthetics.

Francis Colpron, traverso
Olivier Brault, violin
Mélisande Corriveau, cello
Jean-Willy Kunz, harpsichord