Chroma Harp Duo 11th April 2024Forthefinalconcertoftheseason,the AssemblyRoomatGrimsby TownHallwasgracedbyharpistsLucyNolan&BeckiLuff.Their excitingandskilledperformancespanned200yearsandincluded groundbreakingmusicfromthecontemporaryharprepertoire.The concertbalancedandcontrastedclassicalharpmusicagainstthe patternsofatonalmusicandmusicbasedonIndianscales;a range of special effects were added piquing audience interest. Godefroid’sLaprieredesBardesprovidedadelicateopeningto theconcertbeforeadramaticsforzandoledtoanarpeggio cascade;reminiscentofasonatina,arangeofmoodsprovided fascinationandcalm.Piecepourdeuxharpesapedals,Soulage, developeddelightfullythroughahypnoticsceneofconstantly changingcolourstoadiscordantinterlude,resolvinginto harmonious arpeggios and an assured promenade. Turk’ssynesthesia influenced Odysseybegan with the robotic Bronzemovement using percussive effects – thrumming and finger-clicks subsumed by the emerging music. Inspired by Artemis hunting in moonlight, Silversaw the use of a screwdriver slid against plucked strings providing a backdrop to a melodic development, fading away as the hunters retired. Accompanied by finger clicks and taps Goldhad a delicate and enchanting opening. The piece gained momentum and driven on by rhythmic slapping the listener was lifted on a magic ride.The Indian inspired Raga, Lizotte, opened with a lament – a moaning sound created by a rubber mallet slid against strings on one harp whilst tear drop notes were plucked on the other. The music swelled and ebbed before abruptly ending at the striking of a temple bell. Also built around Indian raga (scales) in Monsoon Rains, NagarajanandBaskar,eachscaleisusedtorepresentadifferenttype ofrain.Adelightfulmelodicopening,laidoverabolero-likerhythmthataddedfreshnesstotheclassicharpsound.Thefirstsection closed with a curtain-like arpeggio; the music moved through a variety of scenes, moods and keys to a final animated allegro. BeckiandLucyswitchedtoClarsachharpstoperformtwofolktunes:TheMermaidsCroon,arr.Dearnley,abeautifullyplayed Hebrideantunewithdelicatearpeggiosunderpinningthemelody.KronosReel,McKay,right-handstrumminggavewaytofascinating interweaving lines of music, the simultaneous product of four hands plucking – rhythmic and engaging. Thenwiththeirorchestralharps,fourmovementsfromthewittyavant-gardePentacleSuite,writtenabout100yearsagobySalzedo. EchoesofarevolutioninSteel;thesoundsofcatsinFelinesandtheaptuseofScrewdriverslide,string-bends,scratchingtosupport musicsuggestiveofprowlingandarguingcats. TheeerieCatacombsandfinallyPantomimepresentingavarietyofcreepycharacters, beforealighterdance-likemoodtofinish.Lucy&BeckibroughttheconcerttoaclosewithascintillatingperformanceofSpanish DanceNo1,deFalla,arrangedfortwoharpsandcastanets. Theduodelightedtheaudiencewithanencore,theslowmovementfrom Vivaldi’s Concerto for Two Mandolins - musical magic. IM
Chroma Harp Duo 11th April 2024Forthefinalconcertoftheseason,theAssembly RoomatGrimsbyTownHallwasgracedby harpistsLucyNolan&BeckiLuff.Theirexciting andskilledperformancespanned200yearsand includedgroundbreakingmusicfromthe contemporaryharprepertoire.Theconcert balancedandcontrastedclassicalharpmusic againstthepatternsofatonalmusicandmusic basedonIndianscales;arangeofspecialeffects were added piquing audience interest. Godefroid’sLaprieredesBardesprovidedadelicateopeningtotheconcertbeforea dramaticsforzandoledtoanarpeggiocascade;reminiscentofasonatina,arangeof moodsprovidedfascinationandcalm.Piecepourdeuxharpesapedals,Soulage, developeddelightfullythroughahypnoticsceneofconstantlychangingcolourstoa discordant interlude, resolving into harmonious arpeggios and an assured promenade. Turk’ssynesthesia influenced Odysseybegan with the robotic Bronzemovement using percussive effects – thrumming and finger-clicks subsumed by the emerging music. Inspired by Artemis hunting in moonlight, Silversaw the use of a screwdriver slid against plucked strings providing a backdrop to a melodic development, fading away as the hunters retired. Accompanied by finger clicks and taps Goldhad a delicate and enchanting opening. The piece gained momentum and driven on by rhythmic slapping the listener was lifted on a magic ride.The Indian inspired Raga, Lizotte, opened with a lament – a moaning sound created by a rubber mallet slid against strings on one harp whilst tear drop notes were plucked on the other. The music swelled and ebbed before abruptly ending at the striking of a temple bell. Also built around Indian raga (scales) in Monsoon Rains, NagarajanandBaskar, eachscaleisusedtorepresentadifferenttypeofrain. Adelightfulmelodicopening,laid overabolero-likerhythmthataddedfreshnesstotheclassicharpsound.Thefirst sectionclosedwithacurtain-likearpeggio;themusicmovedthroughavarietyofscenes, moods and keys to a final animated allegro.BeckiandLucyswitchedtoClarsachharpstoperformtwofolktunes:TheMermaids Croon,arr.Dearnley,abeautifullyplayedHebrideantunewithdelicatearpeggios underpinningthemelody.KronosReel,McKay,right-handstrumminggavewayto fascinatinginterweavinglinesofmusic,thesimultaneousproductoffourhandsplucking – rhythmic and engaging. Thenwiththeirorchestralharps,fourmovementsfromthewittyavant-gardePentacle Suite,writtenabout100yearsagobySalzedo.EchoesofarevolutioninSteel;the soundsofcatsinFelinesandtheaptuseofScrewdriverslide,string-bends,scratchingto supportmusicsuggestiveofprowlingandarguingcats.TheeerieCatacombsandfinally Pantomimepresentingavarietyofcreepycharacters,beforealighterdance-likemoodto finish.Lucy&Beckibroughttheconcerttoaclosewithascintillatingperformanceof SpanishDanceNo1,deFalla,arrangedfortwoharpsandcastanets.Theduodelighted theaudiencewithanencore,theslowmovementfromVivaldi’sConcertoforTwo Mandolins - musical magic. IM