Music / “Bass Instincts”, Alicia Crossley. At Wesley Music Centre, April 24. Reviewed by ROB KENNEDY.

ARIA-nominated recorder virtuoso Alicia Crossley performed the music of seven commissioned compositions from Australian female composers in a concert that explored the musicality, versatility and virtuosity of the bass recorder.

The bass recorder may not be as ubiquitous as the guitar or violin, but when it comes to the technical and tonal qualities of this instrument, in the hands of such a virtuosic player, Crossley can create a world of sound colours.

Beginning with “Sylvan”, by Holly Harrison, who was there in the audience. She stepped up to talk about her work and told us that the title meant The Woods. A fluttering, rising beginning in part one set this work in motion. With Joshua Hill on percussion, the bongos bounced in. The jumpy tune expressed a driving rhythm in a lively opening movement.

On to the marimba for part two. It moved into a glowing and warm style with breath exhalations added by Crossley. In part three a jazzy feel came into the work. The sound of the bass recorder almost matched the tonal quality of the marimba. At times, some notes got lost in the mix, but the introduction of the tambourine fixed that. This was a lively and delightful piece equally matched by the playing from Crossley and Hill. Harrison took to the stage for her bows.

For solo bass recorder with a recording of a multi-tracked bass recorder quartet came next with “Inhaltations”, by Alice Chance. The church-music-like quality of the work gave a relaxed and meditative feel. Like a sad tonal song, the music blended luxurious sounds. Truly delightful.

Anne Boyd’s, “Alhekulyele”, followed. This work with several distinct characteristics began with Crossley on wind chimes creating a vortex of sound. She brought in the bass recorder and then sang a chanting call. Crossley surprised, where had she been hiding such a fine, clear voice? This quite mesmerising work seemed to contain more than what was in it. Transfixing was the best way to describe this smart and sophisticated composition, which was played with significant expression.

“Lost in the Darkness”, by Fiona Hill, followed. For bass recorder and live electronics, which the composer was in the room for, but was operating the sound desk, so Crossley did the introduction. This piece about someone trapped in detention started with Crossley blowing into the finger holes of her recorder, creating a scary and atmospheric realisation. While more sound effects and storytelling than music, it was compelling and entertaining.

“Before You”, by Lisa Cheney for solo bass recorder, began with a deep low swirling note. Full of crescendo and diminuendo with staccato notes, multiphonics and flutter tonguing, this sort of drifted by, creating an unusual aural landscape.

“Vibration Meditation”, by Amanda Cole for bass recorder and electronics was an exploration in tone and timbre. A low electronic drone that oscillated with the recorder above was certainly meditative and ambient. Like a mysterious exploration into sound quality, the work achieved its effect by lowering the heart rate while stimulating.

The final work, “The Clockmaker”, by Jessica Wells, had an electronic component that was said to be a steampunk journey. With a rhythmic electronic pinging and percussion soundtrack and recorder floating through the music, this was a satisfying way to end the concert.

All the music offered an eclectic experience. It was a concert of well-connected and diverse music that showed off the capability of the bass recorder and just how interesting it can sound in the hands of such a consummate performer.