Excellence in Early Music
Historically Informed Performance on Period Instruments since 1985
Flute & Artistic Director
Violin & Associate 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.
Quantz: Sei Duetti
A recording on period instruments
“The Baroque music connoisseur looking for refined and
expertly crafted performances of neglected musical gems
will find this recording an unalloyed delight.”
Historically significant and engaging works these six duets for treble instruments exemplify the ‘Art of Elegant Conversation’, displaying high levels of craftsmanship while providing excellent examples of Quantz’s intermediate position as a composer between the Baroque and Classical eras.
Available for download from Resonus Classics
AAC (256kbps) | MP3 (320kbps) | FLAC (16-bit/44.1kHz) | FLAC (24-bit/96kHz)
Physical CDs will be available at our Concerts.
Dialogue: The Art of Elegant Conversation
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 its 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 four-keyed flute by Carl August Grenser in Dresden c.1780.
Pitch A=430Hz (“Classical” pitch)
Flutes: JH Rottenburgh, CA Grenser & J Hotteterre
All the flutes were made by Rudolf Tutz in Innsbruck, Austria.
- Presumed Italian (c. 1700)
- Made by Peter Biffin (Armidale, NSW) in 2002.
Elysium Ensemble gratefully acknowledges the support of:
- Cameron Foundation
- John & Anne Duncan
Photo credit (top of page): Greg Dikmans playing an Hotteterre flute | Lucinda Moon playing a viola d’amore | Detail of viola d’amore | Detail of flutes: JH Rottenburgh, CA Grenser & J Hotteterre | Photos: Lilian Dikmans (2014)