Music at Leyton this month was quite unlike what most have grown accustomed to. Deco Ensemble graced us with their refined playing techniques and unusual sounds. A blend of traditional Tango and jazz with a hint of some Classical influences, the resulting sound was something unheard of, a fusion each composer's work they performed probably hoped against hope would combine well and compliment itself. In fact, the most unusual thing about the ensemble is it's arrangement. A quintet consisting of a violin, double bass, piano, electric guitar and the leading instrument, often holding the melody, an accordion is an uncommon setup. Yet, it works, just as each composer had intended. The composer of the first set of four pieces, The Four Seasons of Buenos Aires, was renowned Argentine born Ástor Piazzolla. Initially, these pieces were recognized as four separate compositions, although he sometimes performed them together. After introducing themselves, Deco Ensemble delved straight into the first piece, Invierno Porteño. Sabina Rakcheyeva (on the violin) and Elena Marigomez (double bass) drummed a beat on the body of their stringed instruments before Bartosz Glowacki took the lead with the accordion, in such an expressive manner and with overwhelming emotion on his face, his solo came across heartfelt. Who knew such intensity could be rammed into such an underrated instrument? Once Ricardo Gosalbo (the pianist) and Rob Luft (electric guitar) had joined in, the sound that ensued was remarkable, to say the least. A mixture of Persian-Jewish sounding celebration and a Jazz vibe from all the chromatic notes, it was impossible to say "I've heard something similar". The melody was then shifted from the accordion to the violin, with Rakcheyeva performing just as emotionally.
Using a technique called a "whip" which made a whirring sound, the violin had the head melody once more in the second piece, Michelangelo 70. This time, the melody had a slight resemblance to well known the Bond Theme. The piano had no shortage of glissando and the double bass was rather distinct in this number, with Marigomez's fast string plucking (pizzicato), creating a slap bass sound like something out of a Godfather movie. The piece then climbed a key, which seemed a stretch as the violin was already playing at a high register. Despite this, Rakcheyeva flawlessly modulated to the key without a second of hesitation. The interval was dark and mysterious, a clever play on the original melody, but the piece returned to it's original key and melody before a grand ending.
The next piece, Mumuki, is rather playful. The melody is passed around each instrument, beginning with the electric guitar and accompanied by the double bass. Luft's accomplished Spanish picking abilities became obvious as his swift fingers climbed between the strings. The melody was then shifted to the violin (guitar and double bass accompanying), then the piano and back to the violin before the accordion delivered a profound solo. The violin and accordion then engaged in a complicated duet. And as the tempo increased, the piece shifted from a sultry jive to an impassioned number before a swift close.
Resurrection Del Angel tells a tale of a lover's fight to find his estranged partner. The intensity and longing was prevalent in the serious stance of each musician. The piece was built up gradually, beginning with the accordion, then introducing the violin, one by one, until all the instruments were playing harmoniously. A sudden break in the music where each instrument (except the accordion) is used as a percussion instrument is effective. Turning pitched string instruments into percussion. Brillaint. Each instrument body has a different depth and therefore, a different pitched sound resonates from each tap. It works. It sounds good.
The profound playing from each instrumentalist was admirable.The melodic range of each composition was enough to test the agility of any violinist, yet Rakcheyeva played each note flawlessly. Ricardo Gosalbo (who composed one of the pieces performed on the evening, Little Suite of Greek Dances) traveled along the keyboard of the upright piano. The double bass also had a key role in creating a rich, thick density to each piece, adding a feel of lounge room music. The guitar contributed to the foreign music feel. However, the accordion stole the show with it's bellowing, yet soothing tones Hats off to Glowacki who didn't waver once, though the instrument is a tiresome one to perform for prolonged intervals. A memorable performance,
Deco Ensemble's next stop is Poland, where they'll be playing at the Sanocki Dom Kultury.
Deco Ensemble are Bartosz Glowacki, Ricardo Gosalbo, Rob Luft, Elena Marigomez and Sabina Rakcheyeva. ⋆ ⋆ ⋆ ⋆
