Ginevra Petrucci performing in New York, March 2025

On March 2nd, 2025, I was privileged to attend the Shoemaker Salon for an all-French recital by Italian flutist Ginevra Petrucci and French pianist Matthieu Cognet. I was accompanied by flutist Emily Piccola, who provided insights for this article.

The Program

The sonatas being performed were written for violin. The first (Fauré) was completed in 1876, while the second (Franck) was written in 1886. Both composers are considered to be late Romantic era, and both works feel quintessentially French.

Gabriel Fauré Sonata No.1 in A Major Op. 13

Fauré’s Sonata opened with a rolling piano introduction, evolving into flowing repartee between piano and flute. The piano would lead and the flute repeat, or the flute would lead and the piano echo and ornament.

Audience view

The second movement (Andante) began with somber D minor piano in the rhythm of a Barcarolle. The flute started low and fluid, perhaps suggesting the singing of a Venetian gondolier. Finally like sun breaking through clouds, the movement closed in D major.

A short Scherzo followed, opening with fast staccato. Again the flute and piano would echo each other. A softer middle section transitioned back to the staccato of the opening, leading to a playful finish.

The last movement (Finale) opened with a haunting flute melody. This was partnered with the clearest, most singing piano we had heard so far. I loved how the musicians passed leadership back and forth during the interplay of their instruments. We noted use of the flute’s high register for emotional tension, a technique employed by Fauré in other works. The work closed with a brief, satisfyingly virtuosic coda.

César Franck Sonata in A Major

Franck’s Violin Sonata in A Major was written as a gift to Belgian violinist Eugène Ysaÿe. It has been transcribed for various instruments, including the flute. However for this concert, flutist Ginevra Petrucci played directly from the violin part.

The piano opened with a gentle, reflective theme. The flute entered and danced over the piano like a ballerina. As the movement progressed, the instruments ebbed and flowed around each other with grace and serenity.

Pianist Matthieu Cognet NYC 2025

In contrast, the second movement (Allegro) opened with dark, ominous piano. The flute followed, the instruments swirling around each other. A slower mid-section reduced the tension briefly. The movement ended with a brooding climb to a clattering climax.

The third movement (Ben moderato) followed attacca (immediately) with mournful piano and bird-like flute. There were hints of earlier movements, and of the upcoming finale. The movement closed wistfully with low flute over muted piano arpeggios.

The final movement opens with the famous A major theme that we had been waiting for, played canonically by each instrument. A winding series of crescendos lead to further canonical iterations before the work closed triumphantly.

Gabriel Fauré: Morceau de Concours (encore)

This beautiful, deceptively simple work made for an excellent close to the concert. It felt like a slow walk through a Monet painting, where the piano provided the footsteps and the flute was the afternoon breeze. The piano part is relatively subdued, but I was impressed by Mr. Cognet’s refined dynamics and his unexpected but effective accentuation of A3 in two places.

A Flutist’s Perspective

It can be hard to get good sound out of the lower range of a flute, and to play quietly in the high end. My flutist companion was in awe of Ms. Petrucci’s ability to project low notes loud and clear, and high notes so quietly. She admired her clean articulation and loved her vibrato.

For Franck’s sonata, Ms. Petrucci made adjustments to accommodate variances between violin and flute. Most obviously, the violin can play two notes concurrently (double stop), whereas the flute cannot. Also the range of the violin extends lower than that of the flute, necessitating octave changes or other adaptations.

Host Robin (center) with Matthieu and Ginevra

Closing Thoughts

Ginevra Petrucci and Matthieu Cognet played in perfect synchronization. When they shared the same melodic line, they sounded like one instrument. This allowed the refined elegance of these delectably French works to shine.

While we tend to focus on the flutist standing up front, the piano is an integral and essential partner in these sonatas. Mr. Cognet performed with admirable selflessness, seamlessly coordinating with the flutist while keeping a low profile to ensure that the audience was immersed in the musical flow.

Finally we note that we were listening to a solid 14k gold flute. Such instruments are prized for their rich tone, which Ms.  Petrucci took full advantage of.