Clas­si­cal

The Weekend Australian - Review - - Music Reviews - Vin­cent Plush

In­vis­i­ble Dances Viney Grin­berg Pi­ano Duo ABC Clas­sics Af­ter a decade of study­ing and teach­ing in the US, the hus­band-and-wife pi­ano duo of Liam Viney and Anna Grin­berg has become a vi­tal com­po­nent of the vi­brant and bur­geon­ing new mu­sic scene in Bris­bane. The Viney-Grin­berg duo is en­sem­ble-in-res­i­dence at the Univer­sity of Queens­land, where Viney heads the mu­sic depart­ment. Their re­search, con­cert and record­ing projects are al­ways in­ter­est­ing, plac­ing con­tem­po­rary mu­sic (a size­able pro­por­tion of it Aus­tralian) in a con­text of de­vel­op­ments cen­turies old. Such is the case with this re­cent com­pi­la­tion of mu­sic in­spired by dance, an­i­mat­ing Bach’s can­tatas, Stravin­sky’s bal­lets, De­bussy’s mus­ings on ar­chaic French forms and Schu­bert’s heart-rend­ing Fan­tasie in f mi­nor, D940. Two cap­ti­vat­ing Aus­tralian minia­tures make up the pro­gram. Green Val­ley, a short pas­toral piece by Roy Agnew, is bal­anced by an all-too-brief mo­ment from the In­vis­i­ble Dances by the Mel­bourne-based com­poser Tim Dar­gav­ille (born 1962). For th­ese two works alone, barely five min­utes in all, this disc is a must-have. The pro­gram feels like a ban­quet of minia­tures; 10 of the 12 tracks last four min­utes or less. The fourth set of Ge­orge Crumb’s dance-in­spired Makrokos­mos mu­sic, Ce­les­tial me­chan­ics, would have made a great in­clu­sion. The per­for­mances were recorded in the Con­ser­va­to­rium Theatre at Grif­fith Univer­sity and the bal­ance cap­tures per­haps too much of the am­bi­ence of an empty theatre. The play­ing is dy­namic, stylis­ti­cally well con­ceived and ex­e­cuted, with a wide range of painterly tech­niques. It is cheer­ing to see our ma­jor in­sti­tu­tions sup­port­ing mu­sic-mak­ing at such an in­ter­na­tion­ally high level.

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