The Nadsa concert season commenced with enthusiasm as the Hathor Duo, featuring flautist Meera Maharaj and harpist Lucy Nolan, took the stage. Known for their performances in some of the UK’s most prestigious concert halls, they quickly established a connection with the audience.
Opening with Bach’s Sonata in G minor BWV1020, the duo showcased a delightful blend of mellow harp tones and flowing flute melodies. The first movement was spirited, while the adagio highlighted Meera’s exquisite sustained notes. The lively allegro concluded the piece with skillful differentiation of repeated flute notes, offering a fresh interpretation of Bach’s work.
Next, they introduced Saint-Georges, a composer with an extraordinary life. His Sonata for Flute and Harp in E flat featured the flute often taking a lower melodic line, with its three upbeat and tuneful movements providing an enjoyable 18th-century treasure.
Kjerulf’s Synnoves Sang brought a different flavor, influenced by Norwegian folk traditions. Here, the flute primarily took the vocal line, with the duo surprising the audience by singing during the introduction and finale.
Hamilton Harty’s In Ireland presented contrasting sections, particularly in the flute’s staccato and high register. The evening’s most striking contrast came with Donald Grant’s ‘Chrissie’s’, where Meera and Lucy excelled at creating a wistful, haunting mood, complemented by stunning harp pianissimos.
Saint-Saens’ Fantaisie Op 124, originally composed for violin and harp, was beautifully reimagined with the flute’s complementary tones creating a rich auditory experience. Ravel’s Pavane, performed nearly a year ago at Nadsa, continued to resonate, offering a different yet lingering mood.
The program also featured Lili Boulanger’s engaging Nocturne, light and brief, followed by Alwyn’s Naiades, a virtuosic finale for flute and harp. The concert concluded with an encore, Da Trow’s Jig by Stout and McKay, transporting the audience to a jolly Scottish atmosphere as the evening wrapped up.
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