Musica Viva is no stranger to bringing audiences chamber music innovation and excellence as well as treating them to successful visiting artists.

This programme, titled ‘Among the Birds and the Trees’, after a reference in Verlaine’s poem ‘Clair de Lune’ is currently on national tour. It is rich in innovation and excellent artists. Three visiting
artists- flautist Adam Walker, violist Timothy Ridout and harpist Anneleen Lenaerts gifted us no less than three works from the time of Debussy and beyond which were conceived for this uncommon
but beautiful blend of instruments.

The modern and innovative accent drenching much of this programme’s soundscapes was expertly delivered. Great diversity of timbre and voice emerged from the stage, both in solo works or transcriptions for each instrument as well as in the svelte mosaics.

During  this concert event, the instruments conversed in chamber works by Tōru Takemitsu, Sofia Gubaidulina and Debussy’s inspirational and groundbreaking Sonata for Flute, Viola and Harp from 1915. The Debussy work, as outlined in the performer commentary, was an inspiration and starting point for the programme.

Reflections of its freedoms and improvisationary, exploratory soundscape came in solos such as a stunning version of Clair de lune on harp, played with amazing sense of space and balance despite
the shift of filigree from keyboard to harp.

Messiaen’s Le Merle Noir (1952) was also successful in transcription for flute and harp. Lenaert’s clarity as well range of nuance and attack made her a solid accompanist and her harp layer an optional timbre to the original piano.

In solo mode initially this trio both broke up the chamber music density and showcased their technical and interpretative virtuosity.
Adam Walker began the night with the challenging contemporary gesturing of George Benjamin’s Flight for solo flute (1960).

The power of this work’s overall atmospheres was followed by a switch back to the early twentieth century for more delicacy.

In the first of three Debussy works of the night, Anneleen Lenaerts displayed excellent control of shape and colour in Debussy’s garden and rain during this transcription for harp from piano of
Jardins sous la pluie (Estampes).

Timothy Ridout gave an agile and at times serene reading of Telemann’s Fantasia No 7 TWV 40:20 on solo viola. A large variety of expression and a solid battery of effect were employed in this, the
oldest work heard on the night.

The free, fantasia feel here was a great prelude to the works especially written for the combo which
were heard after this special solo moment.

Works for flute, viola and harp, inspired by Debussy’s ground-breaking sonata from 1915 were a gift to discover as well as the Debussy work.

This newer chamber music format as replicated by Russian and Japanese composers in 1980 and 1992 proved penetrating and beautiful.

Advanced and peculiar instrumental effects throughout Sofia Gubaidulina’s The Garden of Joy and Sorrow (1980) were incorporated well into the seamless blend in a performance of this work with pleasing momentum.

The three performers endeared us to the treatment of small gesturing in an airy, twisting and turning delivery of the filmic, finely balanced structure which was Tōru Takemitsu’s atmospheric and
compact statement, And then I knew it was Wind (1992).

The keystone piece for this ensemble’s history, Debussy’s Sonata for Flute, Viola and Harp L.137. The compact, scored extemporisations were delivered  with a nice feel. There was an intense sharing of the successive fragments swirling out from the stage, very consistently presented across the trio’s unique, diverse and smoothly blended network.

Such cleanly scored and performed elegance here and in the other two trio works was a great advertisement for this chamber music combo. The Debussy finale made us feel that flute, viola and harp was as established as more traditional piano trio or string trio models.

This Musica Viva offering and tour is missing the typical world premiere of an Australian work. As suggested by Adam Walker, a new composition for the combo performing would be welcome. We
would welcome these superstar soloists and chamber musicians back to our shores for such a premiere and more intelligent, exciting programming from early music to right now.