Press Reviews

 

2015

Royal Northern Sinfonia and James Gilchrist

St Mary's Church, Richmond

Friday 5 June 2015

SWALEDALE Festival’s Richmond day concluded with renowned tenor James Gilchrist, accompanied by a small contingent from the Royal Northern Sinfonia. Entitled Songs of England, its principal attractions were two song cycles by Warlock and Vaughan Williams.

Introducing Warlock’s The Curlew, his setting of poems by W B Yeats, Gilchrist spoke particularly of its spirit of loneliness. Accompanied by string quartet, cor anglais which represented the curlew and flute representing a peewit, this seemed the right combination, setting the mood with a lengthy instrumental introduction. Gilchrist held the audience’s attention from beginning to end with the dark mood sustained throughout the four poems.

Then clarinettist Tim Orpen and pianist Anna Tilbrook performed Ireland’s Fantasy Sonata which drew one in very slowly, gradually becoming more beautiful and ending with a flourish. Finzi’s Interlude for oboe and string quartet featured Steven Hudson in an enjoyable work which included some attractive interplay between oboe and first violin (Kyra Humphreys) in particular.

Gilchrist returned to sing On Wenlock Edge, Vaughan Williams’ setting of six poems from A.E. Houseman’s A Shropshire Lad. This was performed in the original sparer version for tenor, string quartet and piano, which seemed to me to help in creating some of the tensions and atmosphere expressed in the words. In a sensitive and moving performance, Gilchrist caught the different moods perfectly, expressing relief, anguish, poignancy and despair, and once again completely holding his audience.

Peter Bevan, Darlington and Stockton Times, 19 June 2015

 

Swale Singers

Asygarth Church

Wednesday 3 June 2015

What a difference a venue makes! At last year’s festival the choir were singing in a different church, placed in eight rows of six, in a long narrow chancel, behind the arch, with the orchestra in front of them. They strove to be heard. This year, with five rows of ten singers, in front of the chancel arch, and with the orchestra spread wide, it was an entirely more satisfactory evening for singers and audience alike.

A happy choir makes a better sound, and the three diverse works in the programme were all sung with evident pleasure. Director Hugh Bowman is to be congratulated on his choice of music. He was splendidly supported by Greg Smith, accompanying the jolly Gloria by John Rutter on the church organ. Then Greg moved to the grand piano for the interesting choice which formed the centre-piece of the concert, a set of poems by Robert Frost set to music by Randall Thompson, one of the group of American composers including Aaron Copeland and Samuel Barber whose neglected music is now being resurrected. These were beautifully sung, with tender tone throughout, and diction so good we hardly needed our cribsheets of the words.

The Haydn Mass was a lively piece; this time Greg Smith was on chamber organ to join an excellent orchestral ensemble and four well matched soloists – Charlotte Jackson, Emma Wardell, Paul Smith and Richard Brickstock. They are well-known to the Swale Singers, and never disappoint. A highlight was the quiet, lyrical Agnus Dei, when the quartet was accompanied by pizzicato strings, gradually joined by the other instruments.

Then the choir sent us home with a vigorous demand for peace – not a whispered Dona Nobis Pacem, but a full volume plea, with brass and percussion adding to the martial sound. Let us hope the choir can return to Aysgarth for future concerts; it was worth their trip over the moor from Swaledale.

Sylvia Crookes, Darlington & Stockton Times, 26 June 2015

Tenebrae Consort 

St. Andrew’s Church, Grinton

Tuesday 2 June 2015

IN ANOTHER stunning performance, the Tenebrae Consort presented a programme of English Glories of the Sixteenth Century. The eight singers – two each of sopranos, altos, tenors and basses – sang sacred music by Robert White, William Byrd, Thomas Tallis and William Mundy, all broadly contemporaries.

They began with Robert White’s third version of Christe qui lux es (Christ, who art the light and day) with a tenor at the rear of the church and the rest of the choir in the vestry before coming together on the stage. It was sung in Latin, but with the programme for this piece giving only the English text (and elsewhere excluding the alternating plainsong Propers). I was unable to follow the words but was more than content to simply enjoy the superb singing.

This smaller ensemble exposes the individual voices, or rather gives them greater opportunities, and it was apparent that there were no weak links with each voice both beautiful in its own right and in harmony with the others. Short’s unfussy direction ensured that the ensemble parts in particular were sung in perfect balance and timing and the smaller group enabled one to hear more clearly the individual parts or groupings forming the whole piece. There isn’t space to comment on the works individually but besides two versions of White’s hymn they included Byrd’s Mass for four voices, four short pieces by Tallis and Mundy’s exquisite Vox Patris caelestis.

Peter Bevan, Darlington and Stockton Times, 19 June 2015

Liane Carroll & Friends

Influence Church, Richmond
Monday 1 June 2015

A LENGTHY version of Billie Holiday’s Fine and Mellow got this jazz concert off to a fine start with Carroll’s opening vocal, short breaks all round and some enjoyable scatting. The Friends, specially assembled for this occasion, were Gwilym Simcock on piano and electric organ, festival director Malcolm Creese on double bass and drummer Dave Ohm. With only a brief rundown beforehand, the group played very cohesively, egged on by Carroll’s contagious enthusiasm in a fine example of jazz at its most spontaneous.

Number after number produced little gems of performance, such as Simcock’s gentle piano introduction on The Nearness of You, which led into a wordless vocal and a thoughtful bass solo, then a soulful crescendo which finally subsided into a lullaby. There was some tremendous interplay between voice and piano on But Not For Me, and Willow Weep for Me opened with a vigorous bass solo which even Charles Mingus would have been proud of. The pace varied throughout with songs such as a lively version of My Favourite Things, Mad About the Boy featuring just Carroll and Simcock, God Bless the Child showcasing Ohm on wire brushes and a couple with Carroll herself on piano.

She also invited alto saxophonist Alexander Bone, BBC Young Jazz Musician of the Year, to join in on a lively jam on Bye Bye Blackbird before a final encore of Georgia on My Mind completed an exceptional evening.

Peter Bevan, Darlington and Stockton Times, 19 June 2015

An Evening with The King's Singers 

St Andrew's Church, Grinton
Friday 29 May 2015

James MacMillan’s A Rumoured Seed, commissioned by the Singers, is his setting of four poems by Michael Symmons Roberts, all on aspects of spring. A complex, multi-layered piece with words often overlapping I found it a difficult piece to judge on first hearing – one to admire rather than enjoy.

The following Edwardian and Victorian part songs performed in various combinations were a pleasing contrast and decidedly easier to follow. Stanford’s The Bluebird was imaginatively set and J.C. Macy’s Jenks’s Vegetable Compound balanced lightness and humour most effectively, before Sullivan’s touching, if short, The Long Day Closes.

Their second set began with a group of folk song settings from around the world including an outstanding Le Baylère from the Auvergne and a Maori song, Pokarekare Ana.

Finally they brought their tightly arranged and polished singing to a group of popular American songs including Gershwin’s Our Love is Here to Stay which they performed with some verve. And for an encore they sang an arrangement by former member Bob Chilcott, who was in the audience, of the Beatles’ And I Love Her.

 Peter Bevan, Darlington and Stockton Times, 12 June 2015


Pau Codina

St. Mary’s Church, Arkengarthdale
Thursday 28 May 2015

THE planned recital for viola and cello by Rosalind Ventris and Pau Codina had to be quickly rearranged when Ms Ventris sprained her thumb and was unable to play. Fortunately, the talented young cellist Pau Codina was able to perform a solo recital though with a totally different programme. Perhaps not surprisingly, he chose Bach’s Cello Suites Nos. 1 and 3, which framed a less familiar piece by Gaspar Cassado. In a confident performance he played both Bach Suites very well with a consistently beautiful tone across the range. He caught the moods of the different dance movements – some light, others more emphatic, but all flowing easily and inevitably.

Cassado’s Suite for Solo Cello, like the Bach Suites, was also based on dances including in this case the traditional and symbolic Sardana from his native Catalonia. The first movement became increasingly difficult and dramatic and, as Codina pointed out in his helpful introduction, the second emulated the sounds of some of the unique instruments used in this dance including the one-handed piccolo. Though a challenging piece to play, Codina performed it with great conviction and authority.

A little Catalan folk melody by Pablo Casals ended another enjoyable afternoon recital.

Peter Bevan, Darlington and Stockton Times, 12 June 2015

Leon Bosch and Sung-Suk Kang

St Oswald's Church, Askrigg

Wednesday 27 May 2015




Skampa Quartet

St. Andrew’s Church, Grinton
Wednesday 27 May 2015

PROMOTED in the Swaledale Festival programme as one of the finest string quartets you’ll hear anywhere in the world, the Skampa Quartet gave the second of their two recitals in the sympathetic acousticof St. Andrew’s Church. From the opening String Quartet in G. Op. 77, No. 1 by Haydn, I’m pleased to say it fully justified the promotional enthusiasm. In an undoubted masterpiece of string quartet writing they demonstrated perfect balance, weight and dynamics. The playing was absolutely together with phrases moving beautifully from one instrument to another.

I’m not sure I picked up every detail of the story in Janacek’s passionate String Quartet No. 2, Intimate Letters , but I did enjoy the beauty of the playing. This included some of the softest cello playing I’ve ever heard, a series of quickly changing moods and some intense expression.

Brahms’ String Quartet in C minor, Op. 51, No. 1, could hardly have been more different with its tensions built up so gradually and deliberately. The Skampa’s light skittering in the Allegretto was a welcome contrast before the final unleashing of feeling in the final Allegro.

Their encore of the second movement of Pavel Fischer’s Mad Piper Quartet completed an outstanding performance.

Peter Bevan, Darlington and Stockton Times,12 June 2015

Leyburn Band

St Andrew’s Church, Aysgarth

Wednesday 27 May 2015

THE night was cold, but the church interior was warm – warm enough for a passing solitary ticketless hiker, a teacher from Cambridge up for the festival, to be enticed inside to hear Leyburn Band.   Unlike some churches, St Andrew’s is well suited to concerts; it has a friendly acoustic and changes in level enable viewers at the back to see the performers, who also have the advantage of being on a wide step above the floor of the nave.  

Musical director George Lundberg’s informative and interesting introductions put pieces in context, so the audience was not wondering "where have I heard that before?"   The programme ranged from Paganini to the Platters, including show tunes, belting ballads, a splendid performance of Goff Richards’ cheerful march Barnard Castle an amusing arrangement by Philip Buttall of Rossini’s William Tell Overture and the reflective American Trilogy as encore.

Lundberg’s daughter Rebecca, a graduate of the Royal Northern College of Music and now head of music at Copley Academy in Stalybridge, conducted with precise, elegant and energetic movements. Her hands were expressive, her whole body danced. She had the fully focused attention of the audience and – more importantly – of the sparkling band, which gave a performance well above expectation.

Last year, Leyburn won the 2014 Brass in Ripon contest and in the Hardraw Scar contest not only won its class but also took prizes for best march, best hymn and best bass sections. The teacher from Cambridge declared it fully merited its place in the Swaledale Festival.

Susan Perkins, Darlington and Stockton Times, 26 June 2015

 

Puppetcraft: Monkey!

Reeth Memorial Hall
Monday 25 May 2015

 

JOHN Roberts runs Swaledale Festival regulars PuppetCraft, carving the puppets himself. With his assistants Bernie and Mandi, he helped children (and their adults) make lanterns one morning. When the hall was blacked out, lights turned off and the torches lit inside the lanterns, the effect was magical. Then tables were cleared, wiped and put away, the floor swept, an enormous embroidered and decorated carpet spread and chairs set out round the edges. Back in came an audience of more than 80. Those who could sat on the floor; those with stiffer joints used the chairs.

Michael Rosen wrote the script of Monkey! basing it on a classic Chinese folk story. Roberts and his assistants are very skilled. Marionettes come alive for them. It did not matter we could see people pulling the strings, that we knew the river was a fall of blue fabric. Supported by Bernie’s evocative and atmospheric live music, the illusions worked.

We watched Monkey being born from a stone egg at the start of his adventures. Hailed as king by other monkeys, he travelled to the corners of the earth in search of the secret of  everlasting life, learning to transform himself and to fly on clouds, stealing peaches from three pretty Chinese maidens and fighting a dragon on the way.

A crowd of children hovered around the set and the puppets for a long time, not wanting to leave the magical world in which they had spent their day.

Susan Perkins, Darlington & Stockton Times, 26 June 2015


2014


Pellingman's Sarabande / Faye Newton / St. Mary's Church Youth Choir

St. Agatha's Church, Easby, North Yorkshire

This to me has been the highlight of the Swaledale Festival, and the very essence of the force behind it. Late afternoon, with the sun low in the sky within the old stone Norman church, Susanna Pell (viols) and Jacob Heringman (lute) joined the sell-out audience. We were transported back to the days of circular music with wonderful repeated melodies, themes and progressions. Much of the music was originally composed in the 1500s, and both Jacob and Susanna made it all so effortless and fun.

Because of the nature of the music, the reels and grounds, it was as though each one played or sung was an old favourite. Living in Richmond, it is great to have such fine musicians on the doorstep. The soaring voice of Faye Newton fitted the scene perfectly. It was easy to see why she has performed as a soloist at the BBC Proms at the Royal Albert Hall. Each song was sung with expression and emotion and obvious enjoyment.

At times it was almost a fusion of the medieval, opera, jazz and sparkle thrown in. Full use of the space available was made, and the julior choir of St. Mary's Parish Church, Richmond, was just wonderful. Their voices were a clear ringing accompaniment to the proceedings, and the timing was faultless. The choir itself has existed in various forms since the 1600s and the church's musical director Colin Hicks should be very proud of today's line-up.

This performance by all concerned was the full package, and encompassed the grounds of Easby Abbey, the 13th century wall paintings, the strawberry teas, the sunshine and the atmosphere.

Amanda Adams, Darlington & Stockton Times,, Friday 13 June, 2014

Svara-Kanti

St. Andrew's Church, Grinton

"Awesome, complex and breathtaking". These were just some of the words used to describe Simon Thacker's Svara-Kanti. They were quite simply a fantastic addition to this year's Swaledale Festival. This was probably diversity in its wildest, yet most contained form. Improvisation and composition combined. Simon Thacker provided an amazing innovation. He is clearly an incredibly talented guitarist and composer, unique in adventure and experimentation.

Tabla master Sarvar Sabri comes from an amazing lineage, has performed for the BBC, ITV and Channel 4, and provided driving rhythm with magical moves. Japjit Kaur's voice was hauntingly beautiful and, among many achievements, she was the songwriter for the Royal Shakespeare Company's Much Ado About Nothing. Jacqueline Shave provided flawless energised passion on the violin. She played an Italian violin dates 1752, which in itself was mesmerising. The mixture of styles, personalities and influences combined to make something very special.

The set opened with an almost Andalusian feel, and then quickly shifted over to Asia, merged with darker tones, followed by a touch of Africa's wild rhythms, back to the Indian theme, before racing off on another world journey.

Every so often, there was something within the music, such as the tinkling of the Manjira, which reminded you of falling water, and the fact that you were in Yorkshire, near the river Swale. The cold stones of the old Norman Church, known as 'The Cathedral of the Dales', gave a base for the imagination, and both the sound and the lighting were perfect. You could almost feel that there was a bit of Middle Earth in there somewhere.

If you get a chance to see them in whatever form, do.

Amanda Adams, Darlington & Stockton Times, Friday 13 June, 2014

2013

Northern Sinfonia Wind Ensemble

Having heard the Northern Sinfonia Strings recently in a joint Swaledale Festival/Darlington Arts Festival presentation, it was pleasing to hear members of the wind section, particularly in such an attractive programme.

They opened with Gounod’s magnificent and beautifully written Petite Symphonie.

From the start there was a lovely blend and depth of sound from the nine instruments with the French horns and bassoons providing the foundation and solos, largely from the flute oboes and clarinets emerging from the ensemble before slipping back.

Enescu’s Dectet (with a second flute plus cor anglais) produced a remarkably different sound,lush at the start of the first movement but with a beautifully gentle ending, while the second was sombre at first before chirpy solos set s new mood.

Janacek’s Mládi for a smaller group with flute doubling piccolo, oboe, clarinet, bass clarinet, horn and bassoon, produced ye more varied sounds, opening with a delightful moderato and some appealing little runs and melodies.

Mozart’s Serenade No.11 in E flat was instantly familiar and comforting. Even though it was originally written for six instruments with two oboes added later, it still sounded perfectly balanced.

In the andante I particularly enjoyed the way the melody passed from oboe to clarinet to bassoon and then French horn.

Ibert’s Trois Pièces Brèves provided just the right ending, almost like encores and over too soon.

Peter Bevan, Darlington & Stockton Times, 21/06/2013

Jean Kelly & Patricia Hammond

Both harpist Jean Kelly and mezzo-soprano Patricia Hammond have become festival favourites so it was a particular pleasure to hear them together.

As we’ve seen before, Patricia Hammond makes an audience feel at ease, introducing each song and chatting naturally with a little help from Jean Kelly, too.

More importantly, perhaps, the singer showed once again a lovely technique, her voice even throughout its range and expressive whatever the material.

They began with folk songs including Drink to me only performed with just the right touch, an almost Schubertian All things love thee and Blow the wind southerly which for once lost nothing in comparison with Kathleen Ferrier’s famous recording.

As well as providing beautifully judged accompaniment Miss Kelly also played two contrasting harp solos: a gloriously swinging – dare I say jazzy? – Harpicide at midnight and later on, a lighter and more delicate Kerry Dance.

We also heard a truly touching Les Berceaux by Fauré and Hahn’s L’heure exquise contained some beautifully written harp accompaniment.

The opera arias were especially effective, with a sad and moving Laschia ch’io Planga from Handel’s Rinaldo and an outstanding performance of Mozart’s Voi che sapete. The performance ended with Balfe’s I deamt I dwelt in marble halls sung sympathetically with a lovely even tone but with an exquisite lilt.

Peter Bevan, Darlington & Stockton Times, 21/06/2013

Charlotte Barbour-Condini & Swaledale Festival Players

The Swaledale Festival got off to the best possible start with a rare sunny day and a sell-out performance by the specially assembled Festival Players.

Led by Festival regular, composer and harpsichord player, David Gordon, it consisted of four violins and violas, cello, harpsichord, double bass – played by Festival director Malcolm Creese – and recorder player Charlotte Barbour-Condini, finalist in last year’s BBC Young Musician of the Year.

A particularly attractive and well-chosen programme began with a Suite from Lully’s Le Bourgeois Gentillehomme followed by Vivaldi’s Recorder Concerto in C minor.

In both of these and throughout the concert, the balance of instruments was ideal, even with Miss Barbour-Condini’s soft toned instruments. Her breath control and fast fingering were very impressive.

The newly written Grinton Concerto by David Gordon and Adam Summerhayes was a catchy three-movement work inspired by East European folk tunes with some demanding cross rhythms which was almost overwhelmed by a dazzling performance of Handel’s Harpsichord Concerto in A major.

The concert ended with a fresh sounding and vivid performance of Vivaldi’s Violin Concerto in C minor with Sumerhayes as the soloist here, and a sparkling adaptation of Bach’s Suite No.4 (BWV 1067) specially arranged to feature recorder and violin and concluding with the famous Badinerie taken at a tremendous lick.

Peter Bevan, Darlington & Stockton Times 31/05/2013

2012


Letter to the Editor

May I say a personal thank you to the chairman, director and the committee of the Swaledale Festival.

Living in an undoubtedly beautiful part of the UK, most of us recognise our very good fortune in that, and indeed cherish it dearly, But nothing in this life is completely perfect and no situation has everything going for it.

Perhaps the small ‘downside’ for some of us who live here is being so far from towns and cities large enough to support world class music, art and theatre etc. For the two magical weeks of Swaledale Festival, we are privileged to have world class creativity and performance come direct to us, at very reasonable costs in venues which are easily accessible to most of us. It is a culture-rich slice of Swaledale Cake full of sumptuous fruits and well iced. What sort of Dales hospitality would it be without a good cake in the kitchen!

So a big thank you to all those involved in any way with the Festival and its outreach activities into schools and providing the Dales with that unique taste of excellence. Long may it flourish as the beacon it truly is.

Lesley Coates Jones to the Darlington & Stockton Times, 15/6/2012

The Times, Critic’s Choice, Classical Music (Six items chosen nationally)

Swaledale Festival

Fortnight of concerts in the Yorkshire Dales. Includes the European Union Chamber Orchestra playing Bach, Mozart and Tchaikovsky (Wed) and the choir of Royal Holloway Colege singing Allegri. Purcell and choral music with the ensemble Acoustic Triangle (Sat).

Richard Morrison, The Times 26/05/2012

Škampa String Quartet

Barnard Castle and Grinton, 1 – 2 June 2011

It seems a long time since the Czech Republic's brilliantly talented Skampa String Quartet has been heard in this region, so thanks are due to Swaledale Festival for persuading the players to give two concerts, one at St Mary's Church, Barnard Castle, and another the following evening in St. Andrew's, Grinton.

In Barnard Castle, the programme began with Schubert's Quartettsatz, D 703, in which strength and smoothness were combined with fine definition. The performance prefaced their playing of Shostakovich's 3rd String Quartet in F, op 73. Composed in 1946, it both expresses and conceals the composer's thoughts on the aftermath of the Second World War and Stalin's regime, leaving the hearer to decide which is which.

Notably secure playing gave life and colour to the imagery and kept the hearer on the edge of the seat. Dvorak's String Quartet, op. 105 took them into familiar territory with its blend of folk melodies and aura of longing for distant homeland in the slow movement's course, the results of his stay in America, projected with a powerful emotional drive that made a deep impression.

Grinton enjoyed very much a central European programme, something that Czech musicians and ensembles revel in. Mozart's Quartet no 21 in D, K575 to start, perhaps a little robustly projected, nevertheless held the attention.

It was in the music' of their own country that they excelled: The Czech rhythms of Bohuslav Martinu's 7th Quartet (Concerto da Camera) were propelled with clarity and a sense of exile (he had escaped to America in 1940) that made this performance all the more poignant.

Regret mixed with happiness is found in Smetana’s autobiographical 1st String Quartet in E minor From my Life. From the lightness and romance of youth to the onset of deafness (marked by the violin’s high pitched E in the final coda) was dramatically and potently performed.

Both concerts drew large audiences with Grinton church packed to the rafters – a return visit soon, please.

Dave Robson, The Darlington and Stockton Times, 17th June 2011

Magdalena Filipczak (violin) with Viktor Bijelovic (piano)

Review of a (Ripon) Cathedral Concert Society concert on Monday 3 March 2014:

Programme:

Benjamin Britten       Lullaby and Waltz (Suite Op 6)

Szymanowski             Nocturne and Tarantella Op 28

Henryk Wieniawski   Fantasy on themes from Gounod's Faust Op 20

Richard Strauss         Violin Sonata in E flat Op 18

It is a mark of the success of the organisers of the Cathedral Concert Society that a programme, which is at first intriguing rather than promising, attracts both a large loyal audience and some expectant newcomers.

The programme was switched round to begin with the Szymanowski piece, a sensible decision given the introverted nature of much of early Britten. A long pedal note provided the backdrop for an almost folksy beginning with bending pitch and sliding notes conveying dark mists and restlessness. Music here from Eastern Europe suffused with Mediterranean influences, a sharp edgy tarantella finally emerging through, conveying a bright frosty sunlit day.   Although we were to be in no doubt that this evening was all about the violin it was often the skilled and sometimes unusual pedaling of the pianist  which allowed the virtuosity of the star of the show to shine.

During the interval I met a couple of people who ‘can’t stand Britten’. This seems to be a fashion. Having just sent my parents off to see Peter Grimes I realize that it is helpful to find some way in. There could be no better guide than the violinist Magdalena Filipczak who in her second language lighted the way with great confidence through the sometimes dark terrain of the music.  She suggested we might think of Britten’s lullaby as that sung to an adult in restlessness before sleep. I found that extraordinarily helpful. This is early, almost juvenile Britten, searching for completion, which never quite comes. As to the waltz our chaperon said that we shouldn’t expect to dance to it.! She was right. Full of spikey vigour this piece never let up in its questioning and never quite found its way to a conclusion – and perhaps that was the point.

For those now in need of a good tune Wieniawski’s reworking of the ‘best bits’ from Gounod’s Faust were in for a treat. As a vehicle for showing off the possibilities of the violin this piece was astonishing. Not least the last theme, the waltz from Act 2. This was a high act of double stopping, polyphony and extraordinary harmonics played with gentleness and ease. Hildegard of Bingen said, My new song must float like a feather on the breath of God.‘ It was like that.

Another young work, Richard Strauss’s Violin Sonata, amply filled the second half. Symphonic in structure and vision this work shows all the potential of the mature composer. This self-consciously elegant piece was delivered with a rich beautiful tone by our night’s performers.  Two encores, especially for this English audience, followed richly deserved applause, Chanson de Matin and Salut d’Amour.

In most chamber concerts it is the relationship between the instrumentalists and their parts that fascinates. Not so here. Both players allowed the music to be the star of the evening, or to be more precise, the instrument of the violin itself. Few concert goers, as they made their way to the West door through the semi lit nave of the Cathedral, could not have had their minds and hearts enlightened  through this virtuosic music making of the highest order.