Never judge a book by its cover — particularly if it’s two or three bookends.
WA composer Lachlan Skipworth’s world premiere Sonata (2020) began and ended using a scintillating recital of Australian flute songs by WA Symphony main flautist Andrew Nicholson using WASO pianist along with UWA lecturer Adam Pinto.
However, the Sonata was initially played , hidden in the app supporting Ross Edwards’ Nura.
In itself was a tough, programmatic bit setting out a number of Skipworth’s inspiration in non-standard scales that the one-time pupil of Japanese shakuhachi flute introduced as a master course.
Camera IconWA composer Lachlan Skipworth. Charge: Bohdan Warchomij
Then it was to Nicholson and Pinto, Nura starting in dark chords such as Wild Bird Morning, devoting a explosion of avian yells in flute.
Nicholson stands outside at a distinguished WASO ending segment but here was lockstep with Pinto, neither performer pioneer led.
Step-like climbs in piano, echoed in flute, every having a leger-de-main cadence, released Ocean Idyll.
Following a slow, contemplative mood appeared to station the shakuhachi at timbre in front of a percussive switch into the finale, Earth Dance, triggered frenzied, virtuosic flute and busted rhythm onto the computer keyboard.
Musical gymnastics gave way to mild back and melody, until hyperbole appeared to crack down from the comic response.
Anne Boyd’s Cloudy Mountain followedanother work representing Japanese style and tone, piano launching at a close glissando accompanied by dark stripes as flute researched the mists and puzzle of a remote landscape.
Tone suppressed as piano resonated into the rivulets of a hill stream, unknown spans in flute extending the ear and creativity, evaporating to puzzle in the cadence.
Following the period, Roger Smalley’s Movement demonstrated over a formal name, with easy figures left minimally yet strangely expressive, a lively connection as opposed to standard tranquility and harmony.
The duo also researched methods in pizzicato, percussion, fluttering and much more; although riven through having a tumultuous soul, preserved a musical melody.
Camera IconAdam Pinto and Andrew Nicholson. Charge: Bohdan Warchomij
Then it was time to get its blink-and-you miss-it world premiere (reprise).
Skipworth described it as a development, possibly of anticipation, at the recurrence of COVID-19 shutdown.
Nicholson was direct:”it is a large obligation but also very fascinating to find something really new.”
Piano and flute erupted in existence, pursuing through scales and periods, teeming in the manner of a dawn chorus, occupied yet tuneful.
Disposition then shifted into meditative, piano tolling chords although the flute drifted by its enroll, piano lilting beneath languorous flute tune, and breaking into some fugue-like figure, eloquent and joyous.
Audio pealed out with heat and vitality, morphing into a meditative, hunting mode; the entire more accessible today for shining by its own prism.
In the final reverting into the introductory fugue,” Nicholson and Pinto created a brand new phenomenon together with all the hallmark of achievement — approval.
Cappuccino Concerts proceeds this Sunday, October 18, 5pm, in the Grove Library, Cottesloe, together with soprano Jessica Taylor along with organist Alessandro Pittorino.
The show concludes next Sunday, October 25, 5pm, together with Cygnus Arioso string outfit at exactly the identical venue.
See cappuccino-concerts. com.