This is a meeting of two worlds—twice over. The three players delight in the genteel lyricism of sonatas by Handel and Telemann on the one hand, and on the other, delve into the richer, more complex textures of Bach, where emotionally they linger just a bit longer.
The other collision of worlds emanates from their very sound. While Terence Charlston plays a modern copy of a large 18th-century harpsichord, and Charles Medlam sustains the bass line with a sinewy viol, Sharon Bezaly herself plays on a modern 24-carat gold flute, specially built for her by the Muramatsu team in Japan. Her audible control of circular breathing allows her to sustain breathlessly long melodic lines, especially in the four Bach sonatas, exquisitely counterbalanced by the more clipped repartee of the period instruments.