In Bronzewing, highly acclaimed period musicians Katie Yap (viola) and Donald Nicolson (harpsicord) have combined to create a unique musical identity that provides plenty of room to express their wide-ranging musical ideas.

Tempo Rubato – a vibrant classical music bar and venue in the heart of inner-city Brunswick – is packed for the duo’s latest concert, themed around shadows.

Katie Yap and Donald Nicolson: Bronzewing. Photo © Albert Comper

The program opens with an instrumental rendition of the chant O tu illustrata (O thou enlightened one) by the medieval mystic Hildegard von Bingen, followed immediately by Bronzewing’s longer response to von Bingen’s work. Played on a five-string electric viola and synths, this ancient melody acquires an unearthly, luminous quality.

The next item is an assured performance of The Unthanks’ song Magpie, based on the children’s nursery rhyme, in which Yap sings and plays the viola – strumming insistently to “Devil, I defy thee” – and Nicolson accompanies her on the synths.

The first half finishes with a synths solo by Nicolson who, for this concert, has swapped out concert blacks for a cap, T-shirt and psychedelic runners, giving full vent to this colourful alter ego in Solar Flare. Having replicated the sound effects of the early arcade games in pre-recorded segments, and builds them into an intriguing, improvisatory solo work for synths. The way in which he builds excitement keeps the audience engaged throughout, and the first half ends with a feeling of jubilation.

The second half opens with Arvo Pärt’s Fratres. Bronzewing realises Pärt’s seminal work beautifully, the evident empathy between the players underlining the depth and serenity of the music.

There follows the world premiere of laila for solo viola by Hawaiian composer Leilehua Lanzilloti on commission for Yap. laila (place) comprises several short movements, each exploring a different nuance of the Hawaiian word. While Lanzilloti’s score stipulates the tuning and a series of musical patterns based on harmonics, she leaves it to the violist to develop those patterns in performance. laila has a magical quality, with the bell-like harmonics suggesting both fluidity and tranquillity.

Yap – singing and accompanying herself on the viola – then gives a moving performance of Australian songwriter Monique Clare’s elegiac Boats.

The concert concludes with Bronzewing’s Penumbra. It is difficult to describe in words the sense of engagement this duo create as their music winds its way between and around them; it is a riveting conclusion to an exceptionally varied and stimulating concert.

Bronzewing return to Tempo Rubato on 4 July with Bronzewing Baroque.