Music / Anthony Marwood and James Crabb. At Snow Concert Hall, September 25. Reviewed by NICK HORN.

In a captivating and brilliantly executed program, Anthony Marwood (violin) and James Crabb (classical accordion) explored the borderlands between folk and classical music in music from Argentina, Scotland and England (with a side-trip to the German baroque).

New colours and shapes were evoked in this unusual collaboration, but the performers never left the audience behind.

In an opening suite by Astor Piazzolla, from the first notes the duo embodied the passion and freedom associated with the composer’s Tango Nuevo (New Tango) style. They continued in the same spirit throughout the evening, smoothly adapting their approach to each of the varied items on the program.

Next was a bravura version of JS Bach’s Sonata No. 3 in E major (BWV 1016). The two performers created a new suit of music out of Bach’s old cloth, with Crabb transforming the basso continuo on his instrument and Marwood discovering something like a Scottish reel in the 2^nd movement Allegro. Perhaps a reinvention too far – I am not sure that the new suit really fitted – however, it was a lot of fun trying it on!

Sally Beamish’s Lament, arranged by Crabb from her composition Seavaigers, was a mesmerising tribute to seafarers who lost their lives in the North Sea, with the simple melody sliding around a drone, surging and subsiding like the ocean. We were brought safely back to land with virtuosic and idiomatic performances of two Scottish/Border melodies (arranged by Crabb), Mary Scott – a lovely ballad showcasing Marwood’s gorgeous tone – and the tripping Cuckold Come Out of the Armey.

The second half began with Thomas Adès’ angular fantasias on folk themes, Märchentänze (Fairytale Dances) in the Australian premiere of Crabb’s effective arrangement. Marwood’s assured extended harmonic technique was featured in the third movement (Skylark (for Jane)), beautifully complemented by Crabb high on the accordion. The fourth movement set the pulse racing with a competition between different motifs on the violin and accordion.

The audience favourite was undoubtedly the duo’s take on Ralph Vaughan Williams’ The Lark Ascending. Marwood’s ethereal pianissimo in the highest register was sublime, and Crabb’s minimal accompaniment subtly supportive, but I missed some of the warmth of the familiar orchestral colour.

The concert concluded thrillingly with three modern tangos, one by Carlos Gardel and two more from Piazzolla, in arrangements evoking the bandoneón of the tango tradition with the idiomatic colour of the classical accordion. Crabb and Marwood recreated these works with all of the dramatic rhythm and swooping, dissonant chromatic panache of the originals.

The acoustics of the large hall carried the duo’s sound surprisingly well, and the performers created a warm relationship with their audience in informal commentary from the stage.

Finally, we were offered a parting gift from Scotland, a quiet lament by 18^th century fiddler Niel Gow. A perfect end to a concert demonstrating the performers’ love for their music, and delight in playing together, in every note, smile and gesture.