Previous music opens up in new and thrilling methods

“Duo De Fesch”… Peter Hagen, left, and Niels Bijl. Picture: Rob Kennedy

Music / “Duo de Fesch”, saxophone and harpsichord. At Greenaway Studio, Chapman, March 11. Reviewed by ROB KENNEDY.

COMBINING the saxophone and harpsichord is an act of genius. Artfully reimagining a program of 18th century French Baroque music for these two devices introduced out an excellent sound.

Internationally famend saxophonist Niels Bijl and main harpsichordist Peter Hagen created a live performance of essentially the most chic sounds. Collectively, these two devices opened up previous music in new and thrilling methods.

All of the works carried out weren’t written for saxophone, however as Hagen mentioned, composers indicated that the music could possibly be performed by “numerous devices”. The live performance started with the “Sonata for cello and basso continuo in D minor, opus 8b, No. 3 by Willian De Fesch.

This multi-movement sonata goes from sluggish and unhappy to a joyous, vigorous dance-like tune, and a music within the type of an “Arietta”.

The sound high quality was transfixing from this fetching and vibrant mixture of gamers and music.

The intimate house of the Greenaway Studio was the right measurement and acoustic for this music. These two worldly musicians could possibly be heard clearly.

Then on to the “Cinquième Suitte”, in E minor for flute and basso continuo, by Pierre Danican Philidor. This multi-movement work, from the French Excessive Baroque, started with a sluggish first motion, which was customary for the time, and this one sang of nice solemnity.

Each gamers had been completely in tune with each other on musical and extra-musical ranges. Their non- visible communication telling every thing that wanted to be mentioned.

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The soprano sax wouldn’t have been misplaced in 1700 when this piece would have been written. Its sound can specific all the colors required for such ornamented music. However what was exceptionally pleasing about this live performance was with the ability to hear each observe on Hagen’s Dutch harpsichord, which produced a high quality and expressive sound.

Antoine Dornel’s, "La Couprin”, four-movement work adopted the format of the earlier items.

This delightfully sprightly work confirmed some pretty writing and it was all timed completely by the 2. The “Gigue”, a very vigorous and pleasing piece.

Bijl is a well-established educator. He’s at the moment the saxophone lecturer at Monash College. He had a very good chat with the viewers about his ideas on the saxophone and the way it works in jazz and classical music equally.

“Deuxieme Suite”, for flute and bassoon continuo, by Louis de Caix D’Hervelois, got here subsequent. This was essentially the most numerous work of the live performance. Many types of music and a few difficult passages for the sax blended to create a small symphony of musical concepts. Brief solo runs for the sax proved the fantastic thing about this small instrument.

Ending this system with one other work by De Fesch. His “Sonata for cello and basso continuo”, in D Main, opus 8a, No.3. Fantastically melodic, however way more, this was a pleasant piece.

All these works underscored how expressive baroque music is. The sax gave the music a extra open and carefree sound. They’re on to one thing by combining these devices. Notes weren’t misplaced within the sound of one another as a result of they had been each so distinctive and open. Folks may clearly hear and simply take pleasure in this music.

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As a shock encore, they carried out a Sally Greenaway piece. A vigorous and lyrical work titled,
“Overture for Da Vinci’s Apprentice”.

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Ian Meikle, editor