Le Vent du Nord The Stables, Wavenden. UK. 23rd July 2009 This group of young Quebecois takes pleasure in presenting the traditional music of their childhood in an interesting programme. The line up is hurdy-gurdy/piano, two guitar/vocalists, and a violinist, who has a remarkable line in foot rhythms which provided an unobtrusive accompaniment. Perhaps if he had stood up we might have seen a display of tap dancing! The first half was mostly ensemble dance tunes and the odd vocal item, all performed with élan and vigour. More songs were presented in the second half and these were varied, some being humorous, others narrative, and usually single lines with instrumental accompaniment. I was not alone in wishing there had been song sheets or that the performers had taken more time to outline the content of each song. This would have taken up the time of only one item but would have greatly added to our pleasure and understanding. There was a good balance between guitars and voice, avoiding the common sin of the voice being covered by the guitar. It was disappointing that there was no hurdy-gurdy solo. The players spoke up well, but a bit too fast, especially considering their French accents which blurred their otherwise excellent English. There were a few people who had some knowledge of French but on the whole French is Greek to the English, and probably the denizens of most other countries, too. Presentation was good and straightforward with smooth continuity. But I always ask myself why, oh why, do these groups insist on amplification? The level set was bearable but constant, and tiring after a while. From time to time the ear requires a rest from noise. The sensitive ear also welcomes variation and I, for one, would have welcomed more variety: variety of tone colour, of volume, of key, of mode, of pitch, of tempo, of rhythm; contrast of solo and ensemble; major/minor; vigorous/expressive, to keep us guessing what might come next, and yet spun with a logical continuity. With this ensemble all this could be done, and would make, to my mind, a more interesting experience, while a female voice would add a pleasant counterpoint. This modern hall is small and intimate, with scarcely more than twelve rows of seats plus some side balconies holding perhaps as many again – 200 in all. It is an intimate space with, I think, good acoustics, and certainly there was no need for amplification, for plays are regularly presented there. Each one of these instruments would have been easily heard on its own, which is what they were designed to do. Is it supposed that we are deaf or that we only register when shouted at? Loud sounds are all very well, but we need calm from time to time. If these first-rate musicians were to recreate the homely atmosphere in which they learned these songs, would the audience listen, or do they take pleasure only in excitement? Despite these reservations the performance was an enjoyable one and we left with the pleasure of having had contact with the French-Canadian folk tradition, though we missed much of the humour because of our linguistic limitations. Michael Muskett
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