Évocation byzantine

From the works l have played by Erik Marchelie over the past few years, this seems a little bit of a departure from his usual style, a style which is basically, pleasing melody lines with interesting supporting harmony; not that Evocation Byzantine has not got these features, it is just that this composition takes the listener to a different part of the world from which one is accustomed to associating with this composer. Here we are firmly in the grip of ancient music of the East, starting with a 26-bar introduction where the flute plays an improvisatory style incantation whilst the guitar provides the backing, (although not stated as such, this also works really well as a solo flute passage - i.e. without any guitar accompaniment - which makes the entry of both instruments in the Vivo section seem more noteworthy). Things hot up somewhat in this quicker, principal part of the composition where the guitar's accompanying rhythmic drive sits underneath the flute's Oriental-styled theme with the 5/8 rhythm forcing the music continually forwards. An exciting high-spot is reached where both instruments play identical rhythmic passages for a number of bars and before the opening, plaintive theme returns to bring the work to a serene conclusion. ln the right hands, this could be a most interesting and entertaining item in any formal recital. The technical standard required is around the intermediate area. A very good and clear presentation of the score is accompanied, thankfully, by separate parts for each player. Steve Marsh (Classical Guitar Magazine)