Excellence in Early Music
Historically Informed Performance on Period Instruments since 1985
Violin & Associate Director
Flute & Artistic Director
Greg Dikmans and Lucinda Moon have been working together for over 25 years. In this time they have developed a fruitful collaboration built around an approach to historically informed performance that is characterised by careful scholarship combined with subtle, tasteful and, above all, unpretentious musicianship.
3 Flutes – 3 Pitches – 3 Sound Worlds
Experience the supple tones and dynamics of period instruments.
Greg and Lucinda explore the rich and varied repertoire of the 18th-century instrumental solo without bass and the duo for two melody instruments. Some of the composers are not so well-known today, but in the 18th-century were deservedly considered among the best of their time.
A selection of movements from rarely performed works by:
- Jacques Hotteterre ‘le Romain’
- Joseph Bodin de Boismortier
- Johan Helmich Roman
- Georg Philipp Telemann
- Johann Joachim Quantz
- Carl Philipp Emanuel Bach
Lucinda with her viola d’amore
“We have been experimenting with using Lucinda’s viola d’amore in some of our French duo repertoire. It sounds absolutely beautiful at A=390 with Greg’s Hotteterre flute. The combination of the two instruments is magical. The d’amore has a very resonant, silvery sound.”
About the Instruments and Pitch
Greg plays on three different flutes. Each flute has it’s own particular sonority and character (partly because of the pitch/length, but also the internal construction). Different flutes are appropriate for different types of repertoire. The sonority of Lucinda’s violin also changes with the different pitches. These pitches and sonorities create varied sound worlds which complement the music beautifully.
- Copy of flute by Jacques Hotteterre in Paris c.1700.
Pitch A=390Hz (French opera pitch 1660–1750)
- Copy of flute by Joannes Hyacinth Rottenburgh in Brussels c.1720.
Pitch A=400Hz (French chamber pitch 1680–1800 - used throughout Europe)
- Copy of a 4-keyed flute by Carl August Grenser in Dresden c.1780.
Pitch A=430Hz (“Classical” pitch)
All the flutes were made by Rudolf Tutz in Innsbruck, Austria.
- Presumed Italian (c. 1700)
- Made by Peter Biffin (Armidale, NSW) in 2002.
Rave Review of Haydn Concert
“Haydn wrote the recipes. Elysium turned them into delectable music.”
“Classicism at its most perfectly formed, and most persuasively performed.”
Photo: Claire Oremland (Concert Manager – Elder Hall)
On Sunday 11 May 2014 the Elysium Ensemble performed 6 Haydn Divertimenti for flute, violin and cello at Elder Hall, Adelaide. Music critic Elizabeth Silsbury, writing in The Advertiser, makes some perceptive comments about Haydn’s chamber music and was very appreciative of the ensemble’s approach to performing this music.
Listen to Excerpts
Click the big red play button to start listening
CDs will be available for purchase at our Concerts.
In 2010 the Elysium Ensemble’s principals, Greg Dikmans (flute) and Lucinda Moon (violin), initiated an Historical Performance Research Project. It is being supported by the Early Music Studio at the Melbourne Conservatorium of Music, The University of Melbourne, and by private and corporate sponsors.
The aim of the project is to identify neglected or newly discovered, high quality chamber music from the Baroque and early-Classical periods (1600–1800) with a view to bringing it to a wider audience through historically informed performances and recordings.
Elysium Ensemble is affiliated with the
Early Music Studio at the Melbourne Conservatorium of Music.
Elysium Ensemble gratefully acknowledges the support of:
- Cameron Foundation
- John & Anne Duncan
Photo of Lucinda & Greg: Leonard Szabliński (2013)