Fiamma d’Amore

New Town Church, 24/1/26

 Intesa Duo: Lucine Musaelian (voice and viola da gamba), Nathan Giorgetti (viola da gamba)

This concert, part of the excellent Georgian Concert Society series, was moved from St Cecilia’s Hall in Niddry Street due to the temporary closure of the Hall. Instead, it was held in the other main venue for GCS concerts, the light and airy New Town Church in George Street. Sadly however, this was not the only change to the original programme. Lucine was suffering from laryngitis and unable to sing, so the original concert of music for violas da gamba and voice would be replaced by a completely new programme of music for violas da gamba only, taken from the duo’s extensive repertoire. The voice is a very delicate instrument. I am sure we missed a treat, but the concert we did hear was outstanding.

 The concert began with ‘Dialogues’ by Marin Marais (1656-1728), ‘Spirit of Gambo’ by Tobias Hume (c. 1579-1645), and ‘La Leclair’ by Antoine Forqueray (1672-1745). These pieces by well-known composers showed the variety of music for the instrument, and the musicians played with an instinctive understanding of each other.

Next came something completely different. Two Armenian pieces, arranged for violas da gamba: ‘Chinar es’ (‘You are Like a Plane Tree’) with a mixture of plucking and bowing by each player in turn, and ‘Soorp Soorp’ (‘Holy Holy’), both transcribed by priest Komitas Vardapet (1869–1935). ‘Soorp Soorp’, with its plaintive lament and long-drawn-out notes fading gently into silence, left the audience stunned.

Two of the best-known French compositions for the viola da gamba came next, with “Les Voix Humaines” by Marais demonstrating the voice-like quality of the instrument. Then a piece by M. de Saint-Colombe (c. 1640-c.1700), who taught Marais. Their relationship is the basis of the excellent film ‘Tous les Matins du Monde’ (1991), starring Gerard Depardieu, and with a soundtrack by that titan of early music Jordi Savall.

These were followed by an Italian madrigal, ‘Ancor che col Partire’ (‘Although by Leaving You’) Di Rore/Dalla Casa (1515-1565/1543-1601), where one instrument took flight with the intricate tune while the other provided a steady continuo. Many of the pieces had been arranged for two violas da gamba by the musicians themselves.

 With ‘Le Dodo ou L'amour au Berceau’ François Couperin (1668-1733) we had not the extinct bird but a lullaby. One viola da gamba bowed the lower part while the other plucked the tune. Then the tune was bowed and the accompaniment plucked, until finally both instruments bowed the gentle, rocking melody. As I glanced round at my fellow concert goers I saw no sleepy heads, just rapt attention to the music. We were woken up with ‘The King of Denmark’s Delight’ and ‘A Merry Conceit’ by Hume, who used bowed chords to make the instruments sound guitar-like.

Then we returned to Armenia, with two traditional chants. The first began with both instruments plucked, plangent notes dropping into the silence. Then both were bowed, plaintively slow and meditatively mournful, the instruments again sounding voice-like. ‘Urakhatsir Srbuhi’ (‘Rejoice, Holy Woman’) by St. Movses Khorenatsi (5th century) can still be heard in Armenian churches today. A living tradition.

Nathan Giorgetti then gave a brief description and history of the viola da gamba, which originated in Spain and spread throughout Europe as a solo instrument, also as a consort and continuo instrument.

After ‘L'Arabesque’ by Marais, also featured in ‘Tous les Matins du Monde’, came four English pieces. A traditional tune ‘The Banks of Severn’, followed by ‘Divisions for Two Viols in G major’ by Christopher Simpson (1602-1669). The latter’s repeating ground with variations turned into a competition between the musicians to see who could play the fastest. Repeating sections after each other with fingers flying, the result was an honourable draw. After this frenzy we heard the more sedate ‘I as well as thou’ by Michael East (c. 1580-1648) and the stately ‘A Maske’ by Hume.

 With music from Armenia, England, France, Ireland, and Italy, this exciting concert demonstrated the contrasts between musical traditions in the different countries. ‘Tabhair Domh do Lámh’ (‘Give me Your Hand’) by the blind Irish harpist Ruaidhrí Dall Ó Catháin (?1580-?1653) used plucking and bowing to pick out the delicate, lilting tune, which ended with both instruments plucked, echoing its origins as a tune for harp. This was followed by the elegant ‘Fête Champêtre’ by Marais. From the intricate precision (or precise intricacy) of the French tradition the musicians whirled straight into the final piece. A traditional Armenian dance, with instruments buzzing and a propulsive rhythm, the wild, insistent tune ended with both instruments in perfect unison. At the end of the concert the performers smiled at each other, and the 200 strong audience positively beamed with delight, thunderous applause showing just how much they had enjoyed this concert

Lucine and Nathan met at the Royal Academy of Music and formed the Intesa Duo in 2023. ‘Intesa’ is an Italian word meaning ‘understanding’ or ‘meeting of minds’. These two young musicians showed a deep understanding of the music, and their virtuosic playing and commitment to exploring folk and early music within European and Asian traditions augurs a bright future.

The concert was supported by the Tunnell Trust, which provides learning and performing opportunities for young musicians.