I. Allegro spiritoso (1764–1836)

II. Adagio non troppo

III. Presto

Hélène de Montgeroult (1764-1836), born in Lyon, France, was a composer, pianist, and educator. Her relocation to Paris, driven by her aristocratic social status, led her to study piano under notable teachers such as Nicolas Joseph Hüllmandel, Muzio Clementi, and Jan Ladislav Dussek. While much of her life remains shrouded in mystery, she was esteemed for her exceptional pianistic skill. Allegedly, Montgeroult escaped the guillotine by improvising the Marseillaise on the fortepiano before the Revolutionary Tribunal, a tale recounted by Eugène Gautier and others in the late 19th century. However, its authenticity remains uncertain amid doubts and embellishments. Montgeroult witnessed the transition from harpsichord to fortepiano. As the first woman to teach at the Paris Conservatoire during its inception in 1795, her appointment was met with disdain in a male-dominated field. Nonetheless, she made significant contributions to music education, defying societal norms. Her diverse training influenced her multifaceted compositions, blending Baroque, Classical, and Romantic aesthetics. Revered by some as a precursor to Romanticism, her limited output includes 9 sonatas, 6 nocturnes, a few fantasias, one chamber piece, and an extensive teaching method emphasizing the transition from basic to advanced music techniques including 114 etudes. 

The Piano Sonata No.9 in F# Minor, Op.5, No.3, believed to be Montgeroult’s final sonata, was written and published between 1807-1811. It follows a Classical-era fast-slow-fast three-movement structure. It integrates elements of Baroque, Classical, and early Romantic gestures. The first movement, Allegro spiritoso, swiftly moves from an exciting start to a serene secondary theme, with diverse melodies and transitions, exploring new themes and keys before returning to familiar material. The second movement, in A major, features a lyrical, cantabile style emphasizing expressive piano playing, while the third movement, in F# minor, marked presto, follows a sonata-allegro form with bustling melodies and a contrasting lyrical secondary theme.