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As pretexts so frequently do, this one apace wore lean. Early Music Exposed, a daylong fete at the Metropolitan Museum of Art on Saturday, seemingly illustrious the reopening of the Andr? Mertens Galleries for Musical Instruments afterward an eight-month completion and what the museum calls a fresh display of the Western pawn compendium.

But aside from a few instruments unified into fete performances, well-nigh remained conventual in those second-floor galleries, to be visited betwixt the arranged events. Meanwhile, at least foursome of the six hourlong lecture-demonstrations below in the Grace Rainey Rogers Auditorium paying niggling or no care to instruments.

The commencement morn sitting was devoted to saltation in Shakespeare’s metre, with demonstrations by the New York Historical Dance Company and the requirement euphony discreetly supplied by 3 players, Flying Forms. The arcsecond was a give-and-take of melodious grandiosity, concentrating more on lyric, delivered by the mezzo Jacqueline Horner-Kwiatek and the thespian Paul Hecht, than on the contributions of the viol accord Parthenia.

The afternoon began with cantillate and former chivalric polyphony from Lionheart: six voices, no instruments. Then came 15th-century French stately songs by the fantastic duo Asteria: two singers, with one double on that nigh unemotional of instruments, the luting.

(I couldn’t hang the eve seance, which ? with presentations on the Baroque continuo and the 18th-century fluting ? may suffer had nigher ties to the Met collecting.)

Still, the fete afforded many attractions and episodic revelations, mostly because almost of the performers were not just first-class musicians but likewise enounce and well-versed speakers with big populace personalities. For this cagey collection of groups, all cite to Frederick Renz, the coordinator and innkeeper of the result and an old mitt on the New York early-music vista, as the give of the Early Music Foundation and the manager of Early Music New York.

In approximately slipway the nigh likable intro was the one that in expectation mightiness sustain seemed almost deep, Lionheart’s presentment of how organum, an betimes, fundamental manikin of polyphony, mightiness get been makeshift (and distillery is) on the ground of cantillate melodies. With all six singers trading togs of scholarly tale at the beginning, things threatened to turn syrupy, but the word became more colonised, and the demonstrations, level involving interview involvement, were magnificent.

The word of melodious palaver, too, delivered in pointedly rhetorical manner by Gary Thor Wedow, an learned director who double hither as harpsichordist, was disclosure. Ms. Horner-Kwiatek, a appendage of Anonymous 4, gave adorable performances of arias by Monteverdi, Purcell and Handel.

But the about persistent bit came with a deflexion from the melodious limning of emotions, or affects, to the limning of objects and events. Here, with excruciating narrative from Mr. Hecht, Parthenia performed Marin Marais’s “Tableau de l’Op?ration de la Taille,” with its all-too-vivid delineation of the remotion of a bilestone, 18th-century panache.

Asteria, the duo of Sylvia Rhyne, treble, and Eric Redlinger, strain and lutist, was close encountered as it was victorious a functioning rival in New York sponsored by Early Music America in 2004. Here again the singers showed an knowledgeable, profoundly communicatory fashion, ostensibly directed as practically at apiece otc as at the consultation and flush involving strong-arm link of the hand-on-shoulder change. They offered a abbreviated travelog, display pictures from a slip to France to spring around gumption of the circumstance in which the stately chansons flourished.

The saltation intro, led by Dorothy Olsson, the manager of the diachronic caller, and Kaspar Mainz, its aesthetic manager, was vital and kaleidoscopical, perchance to a break, with legion examples of saltation stairs. There wasn’t e’er a lot to fall onto musically, though one instruction by Ms. Olsson made a lightning connecter: “The reconstruction of these dances is afford to version.” When it comes to betimes medicine ? and certainly other saltation too ? that is a glaring understatement.

Inevitably, opportunities were lost. The contested subject of vibrato was elevated get-go by an hearing extremity, so by Mr. Renz, and discussed mistily. But it patently ne’er occurred to Mr. Renz or any of those performers onstage to evidence to a nonspecialist interview the exact nature of the issuance: the use of vibrato as a cosmopolitan color, now frowned on in early-music circles, as against its use as a particular expressive twist.

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