Notes on Music for Special Supper by a Not-Too-Impartial Observer: Elin's Doctoral Concert Is a Great Success

No, we are not sitting in comfortable seats in Salle Claude Champagne, but in the dining room of a home in 17th century Northern Europe.

The owner, a melomane and member of the aristocracy, has left for a moment, leaving the remains of his supper--oyster shells, a lobster carcasse, white wine in a pitcher, a pewter goblet, cutlery, plates--on the table while he absents himself for a minute before the musicians arrive. His greatcoat, sword and hat remain. The instruments to be played upon--three viola da gambas--repose against another chair, ready for the private concert.

So began the program notes to Elin's doctoral concert last night, and when she came on stage to play Italian, French and English music we really were transported in time and to that special space that music takes us.

Playing alone and accompanied by soprano Hélèn Brunet, baroque flutist Boaz Berney, and harpsichordist Alexander Weimann, she explored the boundary between composition and improvisation as gambists did frequently in the past. At the end she got a standing ovation from (the admittedly partisan) crowd with four curtain calls--and, most importantly, an enthusiastic thumbs-up from the jury.

Her partner Emmanuel Nivon helped with the mise-en-scène, incorporating objects from his collection of every-day material culture of the 18th century. His collaboration was also quite apparent in the other project which has been keeping Elin busy: the baby which they are expecting in mid-August and who heard the concert truly up close and personal.

Photo: the Lyonkop of one of the three viola da gambas that Elin played. Made by Gesina Liedmeier.