Described as “genre-bending” by the National Post, and “intrepid” by the Globe and Mail, Juno Award-winning Mark Fewer has performed around the world to critical acclaim in virtually every role asked of a violinist, from the early baroque to the avant-garde. As one of today’s busiest musicians in the field of Early Music, Hank Knox is hailed internationally for his “colorful, kinetic performances” (AllMusic Guide) which “abound in vitality” (Early Music America). Together, this duo brings warmth and energy to these rarely-performed works: six sonatas for violin and harpsichord.
After his father’s death, CPE Bach wrote that “[the Six Sonatas for Violin and Harpsichord]… are among the best works of my dear departed father. They still sound excellent and give me much joy, even thought they date back more than fifty years.” Interpreted now by a duo so well-suited for the eminently singable melodies, the Six Sonatas are indeed a pleasure to listen to. With the tour Bach Intime, Mark Fewer and Hank Knox will take these Six Sonatas to Midlands, ON (24-09-2017), Gatineau QC (29-10-2017), Prévost, QC (24-03-2018), and Hudson, QC (25-03-2018).
The album is now available for purchase on CD and for download on major digital music providers including Naxos, Amazon, and iTunes.
Trio Arkaede Tour de France (Leaf Music); PickoftheWeek
Classical, or orchestral, music doesn’t always get its fair share ofattention in this space, but it’s always a treat when an East Coast recording of note in this vein comes across my desk, and Tour de France by New Brunswick’s Trio Arkaede, on the Halifax label Leaf Music, hits on a lot of my melodic pleasure centres.
The country of origin ofthe trio’s selections is obvious in thetitle, with an emphasis on the early half ofthe 20th century, a period of great change extending from Mel Bonis’s sprightly Suite en Trio, Op. 59 to the dreamy expressionism of Claude Debussy’s Sonate pour Violon et Piano, L 140.
Sweden-born flautist Karin Aurell, violinist and violist Isabelle Fournier (also principal second violin with Symphony Nova Scotia) and pianist Julien LeBlanc revel in the era’s diversity, and perform with a great deal of mutual sympathy, especially on a piece like Reynaldo Hahn’s Romanesque in C Major, where Aurell and Fournier turn the tonal differences between their instruments to their advantage, and their perfectly synced layersof sound delight the ear.