Music / “Three Guitars, No Vocals”, Duncan n. Sargeant, Sam Roberts, Rey Castro and Ginette Carrard. At Wesley Music Centre, October 30. Reviewed by ROB KENNEDY.
THIS recital introduced collectively three guitarists and a flautist performing authentic and common works. Modern acoustic guitar, classical guitar and music from Latin America stuffed this live performance.
The gamers had been Duncan n. Sargeant, Sam Roberts, Rey Castro, guitar and Ginette Carrard flute.
With no program, the gamers launched most items. It started with Castro on his guitar, with a chunk that had a powerful Latin really feel set in a standard musical story.
The subsequent work, additionally from Latin America with Castro and Carrard on flute, contained an upbeat song-like tune. A repeated line bounced alongside evenly because the flute performed an nearly child-like tune in what was a plaintive and pleasing tune.
Following an identical theme, the duo performed a chunk from Venezuela. Once more, it was song-like however danceable. The taking part in from each sat cleanly and strongly within the ear.
From Brazil for the subsequent piece, a extra mellow tune, which was most likely a love tune. This mild, flowing romantic melody would have been excellent for accompanying an intimate evening for 2.
Ending with an authentic tune by the duo, it was based mostly on a standard rhythm from Argentina. This a lot darker tune, in a melancholy voice, gave the impression to be about loss, in a mysterious method. It was a somewhat charming tune.
Roberts on classical guitar, who’s a scholar of native guitarist Matt Withers, started with a Paraguayan work titled “Subsequent to Your Coronary heart”. In a assured efficiency, he performed this catchy tune with good subtlety. With out sheet music, he created an exquisite rendition all via reminiscence.
Subsequent, Edith Piaf’s laconic “Hymn to Love”. This introspective tune with a passionate account of deep love was advised in a sensual fashion, revealing its emotional story.
A piece by Scott Joplin adopted. Organized by Roberts, this was not a ragtime piece however nonetheless with noticeable components of that fashion. Fairly a sedate work, it didn’t actually go wherever, nevertheless it engaged. Then, the “Entertainer” by Joplin for his last work.
Sargeant, who performs left hand, started by telling tales as he carried out his authentic compositions. This laid-back musician may actually play and inform a singular story on the identical time. By way of his introspective facial features, trying up on the viewers solely often, added to his playful storytelling.
Now the music, a cross between bluegrass, nation, acoustic and common, in a extremely personalised fashion. This was music to entertain and luxuriate in.
Equally at residence on the 12-string guitar as with the six, he continued taking part in as he intermixed his tales with the music. It grew to become like a household gathering with tales of his uncle and mom. When he let his music communicate, he confirmed a relaxed command of his instrument. A fast, complicated piece with dynamic quick and sluggish taking part in revealed a musician completely at residence along with his guitar.
Sargeant completed with one in all my favorite works, “Theme From Antarctica” by Vangelis. Together with his guitar plugged right into a small on-stage amp, for this work he cranked up the echo and quantity, because it wanted to be. He started taking part in his guitar like a set of bongos to emulate the crashing results within the authentic tune. It amazed at how shut it was to the unique, which is a dense multi-layered digital work. This concluded a singular and pleasurable live performance.
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Ian Meikle, editor