The music: Vivaldi’s Venice, Handel’s London and Telemann’s Hamburg. The performers’ birthplaces: Genevieve Lacey’s Wapenamanda (Papua New Guinea), Neal Peres Da Costa’s Goa (India) and Daniel Yeadon’s Huby (UK). The rehearsals and recording: Melbourne and Sydney.
Thus the eight beautiful maps that adorn the booklet accompanying this toothsome program of chamber music from three of Australia’s finest Baroque musicians. There are arrangements of well-known orchestral works, such as Vivaldi’s Concerto for Two Violins in D Minor RV522; there’s even one for cello, recorder and organ of an aria from Handel’s opera Tamerlano. There are famous chamber works, such as Handel’s Sonata in A Minor for recorder and continuo, HWV362. And, to allow each musician to really shine, there are solo works for each instrument: Handel’s Harmonious Blacksmith variations for harpsichord, Telemann’s Fantasia for solo recorder and Andante from a sonata for viola da gamba.
Lacey has always thrived on the recorder’s sweetness of tone and erotic associations, with a sensuous tone that plays down her considerable technical abilities in favour of something more earthy. Da Costa’s phrasing and articulation and Yeadon’s incisive bowing and rhythmic alertness underpin and complete a musical marriage made in heaven.