'Snatches of old tunes' - Winner's Recital - Moeck/SRP 2005 Solo Recorder Competition
Sunday 12th November 2006 in The Old Royal Naval College Chapel, Greenwich

ÆroDynamic: Maria Martinez Ayerza - recorders, with Stephanie Brandt - recorders and Harma Everts - Soprano

The programme title, Snatches of Old Tunes, almost deliberately understates the time and careful thought that went into devising this fascinating and thought provoking programme. The selection provided a continuous juxtaposition of two apparent polarities, the ancient and the very modern, without a trace of the 18th century.

Rarely have I attended a concert, with so few performing resources, just two recorders and one voice, where the volume scarcely rose above mezzo piano, where not a word was spoken, and yet have been so enthralled and engaged by the entire programme and performance. The standard of all three performers, who had committed almost the entire programme to memory, was of the highest order and to this they added a presentation that was discreet, understated, yet dramatic and totally absorbing. Use of spaces and movement was an additional "textbook" feature of their presentation. Far from being a distraction it served to add focus and dimension to the performance.

I was familiar with none of the music and, apart from Dunstable, Binchois and perhaps Donatoni, the composers were little known. The opening piece, "Il Terzo Congegno del sole passante" by Gabriele Manca composed in 1996 which used of extended techniques for both recorders and voice was performed to a slow processional entry. A special mention has to be made of the outstanding singing by Harma Everts, whose training has focused on modern and avant garde music. Her voice blended effectively with the recorders in both the new and the old music. The two Dunstable compositions, Sub Tuam Protectionem and Sancta Dei Genitrix, which ended the first half and opened the second half, used two early Renaissance basset recorders flanking the singer. Here, the blending of the 3 parts was at its most sublime, with perfect tuning and mastery of the resources. Performed in a processional straight diagonal line across the stage the players moved imperceptibly forward before turning and facing inwards.

Interspersed with the ensemble items Maria played a number of remarkably atmospheric and compelling solos including "The Shepherds Flute from Chinese Pictures" by Isang Yun, followed by Donatoni‘s "Nidi II". For these, she used a Martin Helder modern treble recorder. Such precision and control of tone and timing held this listener spellbound!

This was followed by Elizabeth Westerhof-Gaskill‘s "Poems for Shiva" a devotional piece, of Indian influence which used an indian dance form for which Harma Everts wore Indian costume and bells, not to mention a sprinkling of petals. She was supported by two Paetzold bass recorders. This highly moving piece ended with a long finely controlled last note holding a harmonic.

This was a simply wonderful concert that closed yet another excellent Early Music Festival. Watch for this ensemble: ÆroDynamic, and, hopefully, in the near future, the CD. They are worth quite a few travel miles!

Glyn Evans
The Recorder & Music Magazine