|
Fine performance provides exquisite sounds at Cathedral Cambridge Evening News |
||
|
TREmusici
entertained an enthusiastic audience in Ely Cathedral with a very fine
programme of early music.
each musician was an expert at their chosen instrument. The
cellist, Jenny Ward Clarke, played her baroque cello with remarkably
fluent expressiveness.
The soprano, Patrizia Kwella, produced some exquisite sounds that
were especially well focused on the centre of the notes.
Using minimum vibrato, Patrizia sang in a manner that matched the
style of the music perfectly. Special
warmth and sensitivity was added to her performance by shaping the ends
of phrases meticulously, thus adopting an element that we associate with
later styles but which fitted this performance perfectly. The harpsichord made by Alan Gotto held the intonation securely. Alastair Ross performed with sensitive awareness especially in the need to sustain the sound of the harpsichord with confident spreading of appropriate chords. He incorporated ornaments smoothly, making them essential material and changed the colour of the sounds appropriately with subtle use of stops. He always provided effective support for the other musicians as the need arose. The concert included works that gave prominence to each
|
TREmusici at Ely Cathedral performer’s skill. The programme included English Songs, songs by Albinoni, Arias by Scarlatti, Caldara and Bach, works for cello by Telemann and Bach and harpsichord solos by Rossi and Handel. There is my Lord so sweet and kind, by Thomas Ford, was sung with charming appeal and a clear penetrating line. Flow my tears, by John Dowland, was especially eloquent, creating a believable sense of sorrow and stillness. Similar passion was displayed in Patrizia’s performance of the songs by Albinoni. Since first I saw your face, by Thomas Ford, was presented with an enchanting natural flow and beauty whilst Now O now I needs must part, by John Dowland, featured an ingenuous feel for rhythmic decorative effect. Chaconne in G major, by Handel for harpsichord, was enhanced with Alastair’s uncanny awareness of the harmonic content and chords were held for
|
just the right amount of time to produce an effective display of the internal workings of this composition, even in the faster more intricate variations. This piece also exhibited some sparkling finger work as did the Toccata Settima for harpsichord by Michelangelo Rossi. In Sonata for cello and continuo in E minor, by Telemann, the Cantabile was beautiful, the Allegro potent and lively, the Recitativo arioso most communicative and the Vivace featured an amazingly expressive rhythmic agility. The Suite for solo cello no. 2 in D minor, by Bach, was also splendid and featured some very effective musical modelling with instrument and musician speaking with one voice. The arias at the end of the concert were equally remarkable and the professional ease and expertise with which they were sung provided and excellent ending to this splendid evening. |