The program for this Musica Viva concert featured one of The Harp Consort, leaping in the air in an apparently ecstatic dance. As all members of the ensemble, save vocalist Caitriona OLeary, were listed as instrumentalists, the image inspired some trepidation in this reviewer who recalled the heady 70s when baroque musicians would occasionally leap to their feet and dance with varying degrees of success. Fortunately, the players musicianship was well established before there was any hint of dance, allowing time to admire the range of instruments, notably the Irish baroque harp, a smaller version of the type we know. It was central to the program whose title was Carolans Harp airs, jigs and planxties by the chief musician of all Ireland, Turlough OCarolan (or, if you prefer the Gaelic, Toidhealbhach OCearbhallain). Combined with the guitars, shawm, fiddles, psaltery and other instruments, the harp had a pretty music-box sound but one particular difficulty, which served to slow the concert down: it needed tuning every time there was a change of key. (A good argument for transposing a number of works into one key, you might have thought!). There was a long lecture on this quirky fact and on the history of the harp, the Irish jig and so on, after the first couple of items: interesting, but a little too early for an audience that needed warming up to this quite different Musica Viva offering. That was a pity, as the music itself had its own charm from the outset. The anonymous Try if it is in tune was a clever way of making the tuning part of the entertainment and, after a few words of Gaelic, the whole ensemble joined in the Jigg to Mr James Betagh. It was foot-tapping music, yet slightly removed, perhaps an odd choice to begin. There was the sense that the audience was quite consciously being warmed up, before more adventurous fare. OLearys performance of Susy Kelly both conveyed the sensuality of the words and an almost religious sound, a faithful rendition of what seemed a medieval ballad. It was followed by an interlude of great sweetness. At last came the expected dance, as Steven Player abandoned his guitar and performed a quite balletic piece, while giving what felt like an illustrated lecture. When he returned to his instrument and struck up a tune with the drum and other instruments, the more animated foot-tapping piece drew the first really enthusiastic applause from the audience. Also appreciated was the next set: Ian Harrisons almost hypnotic rendition of the rather strange Bridget Cruise, the beautiful tiny cymbals and the hilarious bird song. The next section, preceded by a lecture on the Irish/Scots connection was notable for the strong ballad King Orfeo, and the use of solo violin as accompaniment to the voice. A harp solo was interesting for its dissonant chords in what was otherwise a pretty song. The set ended with a heavily accented dance, with the singer joining in too; but like so much of the performance, things were just getting interesting when the dance slowed to an almost jokey halt. I did not see the second half of the concert (which had nothing to do with the quality of the performance!) so am unable to comment on the direction taken by The Harp Consort at that point. There were rumours of a drunken sailor dance, which I cant pretend to regret missing. However I was at the performance long enough to recognise that The Harp Consort comprises musicians who are masters of their craft, with their mix of versatility and scholarship their unique attractions. The Harp Consort MUSICA VIVA Melbourne Recital Centre Caitríona OLeary – voice Steven Player – dance, baroque guitar, Dublin guitar Ian Harrison – bagpipes, shawm, cornetto, fiddle Susan Ansorg – viola da gamba, fiddle Michael Metzler – percussion Andrew Lawrence-King – Irish baroque harp, psaltery, Director Touring nationally
The harp consort
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