Live performance of girls by ladies is a ‘gem’

Limestone Consort. Picture: Rob Kennedy.

Music / “Girls by Girls”, Limestone Consort, Haydon Corridor, Forrest, September 18. Reviewed by ROB KENNEDY.

CONCERTS of music solely by feminine composers are all too uncommon, however this one having all-female performers as properly, additionally proved why we want extra of them.

The gamers in Limestone Consort for this live performance titled “Girls by Girls” have been Lauren Davis, chief and violin; Greta Claringbould, soprano; Robyn Mellor, recorder; Clara Teniswood, cello and Ariana Odermatt, harpsichord.

Starting with “Hor che Apollo”, by Barbara Strozzi (1619-1677), this lament contained ages of magnificence, struggling and a final farewell. The primary tune swapped between recorder and soprano, the harpsichord, violin and cello performing as continuo solemnly stuffed within the accompaniment.

This composition spoke of a composer who knew her craft properly. The steadiness throughout voices completely captured this expressive and altering work. In a number of elements, it was an exemplary work sung fantastically by Claringbould. It mirrored the essence of early music captured tenderly by the consort.

The “Sonata No. 3 for violin”, by Elisabeth Jacquet de La Guerre (1665-1729), additionally contained the harpsichord, cello and violin. With a gradual motion to start as was customary in 1709, when this was written, it crossed a lot musical territory.

Every brief motion held a small world of intelligent writing. The cello had lots to do and sat prominently inside every motion. The violin and cello had a call-and-response play in a single part, seizing the playfulness of the music. Ending with one other gradual motion, the devices sang to at least one one other a pleasant, calming chorus.

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The “Sonata Quinta” by Isabella Leonarda (1620-1704), for recorder, strings and harpsichord, rapidly modified from mellow to bop, again to mellow then right into a brighter passage. It contained a little bit of the whole lot within the first part. The music continued to border itself this manner all through. One part responded to a different, making it a extremely eclectic work.

Excerpts from “Suite III, Items de clavecin”, by Elisabeth Jacquet de La Guerre, contained six actions. This uniquely written composition, as a result of it has no meter markings, started expressively unhappy, then moved to a brighter and swish type. Each motion confirmed a aptitude that spoke of readability over complexity. Odermatt dealt with each bit with type and with a concentrated but nearly easy experience.

Anna Amalie von Preußen (1723-1787), “Sonata for recorder and continuo”, in three actions is a chic piece. With longer sections than different baroque works, it confirmed better improvement, which positioned it, as Mellor mentioned in her introduction, main in direction of a classical type.

The allegretto center motion held a number of the most glowing strains. Though the ultimate motion was marked Allegro ma non troppo, it proved a statelier tempo, however all extremely pleasant.

For the ultimate work with all 5 feminine performers on stage, “Purpurei Flores” by Isabella Leonarda, was, because the title suggests, a floral work. The music, vivid but profound, which altered tempo from quick to gradual, added a lot variation. The violin, soprano, and recorder held the ahead voices in an excellent type by way of sections. The cello additionally bought to sing because the harpsichord joined all of it collectively.

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Lauren Davis carried out in three concert events this week. Symphonic music for the Canberra Symphony Orchestra, accompanying choral works with the Canberra Choral Society and right this moment, baroque items along with her Limestone Consort. That’s a whole lot of work, but it surely was price it as a result of this live performance was somewhat gem.

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Thanks,

Ian Meikle, editor