![]() ![]() The Gigue finale gives Knight’s flute a chance to soar, propelled by the violins a wonderful duet resounding from Urquhart’s harpsichord and the double bass, played by the composer himself, pumps the final movement along. With a clear nod to 18th Century baroque style, this movement allows the ensemble members to share a beautiful culmination of phrases, like an ongoing refrain. Within the six movements of this cohesively crafted suite, the third movement, Courante, stands out the most. Although there is considerable interplay between the string orchestra and the harpsichord, the harpsichord’s solo passages are often short-lived.Ĭomposed in a neo-baroque style, Benjamin Bates’ Suite in A Minor (2017) adds flautist Emma Knight to this harpsichord and chamber orchestra combination. Beautiful overlapping ascending lines allow the intent of the strings and harpsichord to be clearly heard in this second movement.Īs the ensemble moves into the third and final moment, I can’t help but feel that the harpsichord has been under-utilised as a solo instrument. ![]() The spacing of the harmony within the string orchestra offering poised moments of reflection. Performed by the Melbourne Composers’ Chamber Orchestra with Robert Dora on the conductor’s podium and Geoff Urquhart at the harpsichord, the spirited opening develops into a more harmonically driven second movement. 1 for Harpsichord and String Orchestra (2018). Proactive string runs and explosive moments of tension characterise the opening movement of Carol Dixon’s Concerto No.
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