A bold move that paid off

The Peterborough Evening Telegraph - - REVIEW - by Joe Con­way

It was a bold move by the Camilli String Trio to in­clude a med­ley of Scot­tish folk songs in its lunchtime con­cert at Peter­bor­ough Cathe­dral. Fol­low­ing clas­si­cal and ro­man­tic works by Haydn and de Be­riot, the trio moved onto a dis­tinctly dif­fer­ent level when play­ing tunes like Neil Gow’s Lament and Char­lie is My Dar­ling.

But, it was the per­for­mance of My Love is like a Red Red Rose which made an un­for­get­table and tran­scend­ing im­pres­sion.

It’s an artis­tic cliche that a fairy story can have more im­pact than a novel, and that a sim­ple tune can be more mov­ing than a sym­phony, and the lovely melody as­so­ci­ated with Rob­bie Burns’ words was a case in point. The tune it­self was melt­ingly played by the trio’s leader Erin Smith del­i­cately ac­com­pa­nied by sec­ond vi­o­lin­ist Nan­dita Bha­tia and cel­list Olivia Clay­ton.

It was Nan­dita who had made these rav­ish­ing ar­range­ments of five folk songs to form a suite that was au­then­ti­cally Scot­tish yet gen­tle and lyri­cal at the same time.

The three play­ers had be­gun the recital with the typ­i­cally ge­nial string trio in C ma­jor by Josef Haydn who, in­ci­den­tally, was a con­tem­po­rary of Burns and who also had an in­ter­est in Scot­tish folk.

It was good to hear all the re­peats in a vig­or­ous per­for­mance char­ac­terised by a re­lent­lessly busy first vi­o­lin line.

The splen­did Duo Con­cer­tante No 1 by Charles-Au­guste de Be­riot which fol­lowed was as ar­rest­ing as it was un­fa­mil­iar.

It be­gan with a se­ries of pas­sion­ate chords that be­lied the fact that only two vi­o­lin­ists were play­ing, and in­cluded a thrilling ac­cel­er­a­tion into the re­cap of the main theme of the first move­ment.

There was more mu­sic for strings a week later, but plucked rather than bowed, when Eleanor Turner pre­sented a pro­gramme of mu­sic played on a mag­nif­i­cent elec­tro-acous­tic harp.

Her pro­gramme con­sisted of a num­ber of short pieces, most of them ar­ranged by Eleanor her­self from pi­ano and or­ches­tral scores. These in­cluded mu­sic by Bach, Grieg, and Liszt, but co­in­ci­den­tally Eleanor too soon delved into more folky reper­toire!

First play­ing a lively jig from Dario Mar­i­anelli’s film mu­sic to Pride and Prej­u­dice, fol­lowed by an air and reel in­spired by a move­ment from Savourna Steven­son’s Harp Quin­tet.

Eleanor Turner is also a com­poser in her own right and it was great to hear an un­mis­tak­ably au­then­tic per­for­mance of her piece Two Bre­ton Girls by the


Lively, min­i­mal­is­tic, with a syn­co­pated main theme, this ac­ces­si­ble and ar­rest­ing score ob­vi­ously made an im­pact on the large au­di­ence.

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