However, the evening was not the traditional one expected. The carols that looked like the same old favourites we can join in with every year had changed! Was there no end to the versatility of these performers.  Inspired by the band, the carols assumed a new lively, jazzy character. At first, it appeared that all tradition had been cast aside, but, of course, carols per se used to be lively dances and such alteration may not have been so drastic as one may have first thought.

Traditional carols given fresh rhythmic drive included ‘O Come all Ye Faithful’, ‘God Rest you Merry’, ‘Silent Night’, and ‘Once in Royal David’s City’. Other favourite seasonal songs included ‘Let it snow’, ‘White Christmas’,’ Drummer Boy’, ‘Mary had a Baby’, ‘Chestnuts Roasting’, ‘Jingle Bells’, ‘Santa Baby’, ‘Shepherds in the fields abiding’, ‘The 12 Days of Christmas’, ‘Joy to the World’, ’Rudolf the Red Nosed Reindeer’, ‘Mary’s Boy Child’ and ‘We wish you a merry Christmas’. … Paul Trepte certainly gave the items momentum as he drove the singer on with vigorous momentum that matched the band. There were moments of sheer choral beauty that we are used to hearing in Ely Cathedral and these were particularly noticeable in ‘Winter Wonderland’ and ‘Mary’s Boy Child’

Rosemary Westwell

(the entire review may be read on www.localsecrets.com)

This was more than ‘pantomime’, it was a dramatic and colourful event. As author, producer and designer-dressed Widow Twanky, Daniel Bell was central to all things. He and the cast emanated a love of theatre that was irresistible and made the show unforgettable – a highlight of the season. I have never seen a dame able to change so swiftly into so many amazing costumes be they laundy dowager and duck adorer, Cleopatra or jungle Girl. Daniel certainly put his own personal stamp on the  dame. He moved across the stage with amazing alacrity and charisma, even in very high heels, and entranced the audience as he led this fine team in the telling of the tail of the handsome young Aladdin (Lucy Bell) and his desire for the lovely princess Tamara (Emily Robinson).

Abanazar (Tommy D. Kelly Hadley) was the dastardly evil magician determined to thwart Aladdin and rule the world. Robyn Howe made a wonderfully disgruntled Slave of the Ring while So Shi (Mollie Shaw), the Emperor of China (Ben Elgar) and his Empress (Emily Palmer) were the concerned companions of the beautiful princess Tamara (Emily Robinson).

Aladdin (Lucy Bell) slapped the thigh and exuded youthful innocence as the young hero of the plot.

There was everything you could possibly want in this delightful pantomime: verse, strings of corny jokes, sly references to local people and things, slapstick and most of all, a general sense of vitality and joy. The ‘ah’ factor was ever present aided by Oodle (Karina Locke) and Noodle (Susannah Martin) who were hilarious bungling policemen – their gestures and actions in the best of over-the-top tradition. Other favourite and effective characters were Wishee Washee (Don Owen) and his cuddly side-kick Pandy the Panda (Jake Shaw). It will be impossible to forget Wishee Washee trapped in the washing machine, his head revolving as the machine ‘turned’. Matt Brown was the ideal Genie of the Lamp, thumping his chest and announcing his powerful role in vehement tones.

Almost equalling such a host of outrageous showmanship was the splendid Chinese dragon that drew gasps of delight from the audience.

Musical numbers packed the show and the singers and the band were first class. Some of the most enjoyable pieces included ‘It’s Never too late to Fall in Love’ and a highly original version of the ‘Twelve Days of Christmas’. Never before have we seen so many household washing items displayed in such a manner! The fact that only four of the cast were waving around the 12 different sets of objects – be they pots and pans, plastic ducks or bra fit for three – made the piece even more delectable as the four of them flustered back and forth from item to item.

The choreography by Katherine Hickmott was dazzling, as always, and the show sparkled with the dancers’ lithe movements and delightful culminating tableaux. The dancing skeletons certainly added to the darker side of events.  The Panto Babes, Intermediate Dancers and the youngsters filled the stage with swift cohesive movements adding considerable colour and vitality. There are only two words to describe the dancers’ overall contribution: – sheer pizzazz.

With strong contributions from a host of supporters, the production was an undoubtred success. It was no wonder that extra shows had to be put on to satisfy this company’s increasing popularity.

We left the show with the feeling that this dark winter evening was very well spent after watching such a marvellous production.

www.kdtheatreproductions.co.uk

Rosemary Westwell

We know the Christmas Season is definitely upon us when Andrew Parnell, Ely Choral Society and Ely Youth Choir present their customary Christmas Concert in St. Mary’s Church, Ely. Their concert this Saturday was a delightful introduction to this carol singing season.

Andrew Parnell is not only the renowned conductor of Ely Choral Society and Ely Youth Choir, he is also a composer and his arrangement of the carol ‘Adam lay ybounded’ was a splendid piece and is recommended to any budding choirs looking for a new carol. The lines were firm, the entries carefully shaped and the overall effect very pleasing indeed. There was no doubt that much of its success came from Andrew knowing the choir very well and with his inspiring conducting the lines were stretched and smoothed beautifully. The developing tone of the choir also helped to enhance the performance.

‘A ceremony of Carols’ by Benjamin Britten was then performed by both choirs. Ely Youth Choir opened with the ‘Procession’ from outside the church. They ‘processed’ to join the Choral Society which then burst into glorious sounds with a stirring ‘Wolcum Yole’. The gentler ‘There is no Rose’ followed which flowed smoothly and beautifully to lead into a lovely solo: ‘That Yongë Child’. Another worthy soloist led ‘Balulalow’ and the following ‘As Dew in Aprille’ was joyful and of some impact. ‘This Little Babe’ was a very lively piece and was well executed.  There was no doubt that in spite of Ely Choral Society being such a massive choir, Andrew drew from them the rapidity and excitement that would normally be expected of smaller, ‘manageable’ ensembles.

Jonathan Lilley, as always, accompanied superbly and managed to dash from piano to organ as the need arose without a hitch. He played the piano in this work and his clear and timely contribution helped to create pictures in the mind of the freezing winter night to match the opening words of this piece. There were moments when the pure quality of some of the voices in Ely Youth Choir was particularly noticeable.

Ely Youth Choir’s ‘Spring Carol’ was a very pleasant pastoral-like interlude before the massive choir brought matters to attention again with ‘Deo gracias’.

As Ely Youth Choir moved slowly out of the church while singing the Recession, we knew we had been entertained with a fine performance of this work.

A drink and a mince pie …

There is no doubt that Ely Choral Society is a choir of some standing. The church was soon packed and you are advised to book early for the next events:

Saturday 31^st March, 7.30 p.m. ‘The Dream of Gerontius’ by Elgar in Ely Cathedral

Saturday 2^nd June, 7.30 p.m. Concert to celebrate HM The Queen’s Diamond Jubilee in Ely Cathedral

Contact: www.elychoralsociety.org

Rosemary Westwell

(The entire review may be viewed on www.localsecrets.com in due course.)

To a packed audience in the Hayward Theatre, a host of groups took their turn to provide some top notch musical entertainment.

The event opened with a masterful fanfare from the brass ensemble: ‘Fanfare for the Lord Mayor of London’ by Bliss, followed by three varied pieces by the Concert Band. ‘I Got Rhythm’ by Gershwin was particularly well played with ‘The Witches’ Sabbath’ by Puccini and ‘A tribute to Michael Jackson’  maintaining interest with some grand sit-up-and-notice moments.

The precision and charming harmonies by Voicexchange enhanced their performances of ‘One Singular Sensation from ‘A Chorus Line’ arranged by Arch and ‘Nobody Knows the trouble I’ve seen’, a spiritual arranged by Chilcott.

The listeners were wowed before the interval with a toe tapping ‘Orange Sherbert’ by Nestico, a gorgeous schmaltzy ‘The Christmas Song’ by Tormé and Wells and a forthright ‘Alianza’ by Morales.

The Brass Ensemble began the second half with a grand performance of Clarke’s ‘Trumpet Voluntary’ followed by a very attractive ‘Santa Baby’ by Jivets and Springer arranged by Maxwell. It was at this point in the evening that one could not help noticing CJ Porter-Thaw of ‘The Choirboys’ fame a number of years ago. His solo trumpet playing was excellent.

The King’s Barbers presented a number of pieces in effective harmony. This large group managed some most tricky entries, and challenging part-singing and movements with ease.

One of the highlights of the evening was undoubtedly ‘Pikes Cello Group’ playing ‘DMO for Cello Quartet’ by Atwell. This was far from one of those open-stringed nice little pieces for school performers. This group mastered very attractive, sophisticated harmonies beautifully.

The Chamber Choir livened events with their part song  ‘Ev’ry time I feel the spirit’ arranged by Chilcott and the culmination of the evening was the grand performance by the Senior Orchestra playing ‘Farandole’ from ‘L’Arlesienne Suite no 2’ by Bizet and the entertaining ‘Bugler’s Holiday’ featuring Charles (CJ) Porter-Thaw, Elric Doswell and Mark Parry.

Ian Sutcliffe, Director of Music, then announced a final surprise. The audience was invited to close their eyes and then, when asked to open them again, lo and behold, the entire orchestra (or over 60 members) had dressed themselves in Santa hats. Complete with falling snow, sleigh bells and the sound of horses ‘hooves, the orchestra let its hair down and played ‘Sleigh ride’.

This had obviously been a highly successful event as a number of members of the audience were caught whistling the tune from ‘Sleigh Ride’ as they left the theatre.

The proceeds from the concert will be given to the ‘Old Dispensary’ in Ely. – a tradition that has been established over a number of years.

Rosemary Westwell

The script, a true story of the evacuation of London Jews’ Free School and the Central Foundation Girls’ School of Ely during the Second World War, was written by the well known local historian and writer Mike Rouse and brought home exactly what it must have been like in those dark days in Ely. It was interesting to note that the Countess of Huntingdon Church had been used as a synagogue for the Jewish evacuees at the time – hence this choice of venue.

Mikey Kowalczyk directed the show and the antics of the children, so realistic and entertaining, were particularly well choreographed and acted by the young talent.  The cast created viable characters and the storyline always clear and effective. Among the cast were a number of high profile locals including David Tickner (Head of Drama at Soham Village College) and his primary teacher wife, Delia. Lawrence Whitworth, now almost a regular on local stages gave a particularly entertaining performance with his antics as a young refugee as did the remainder of the actors and actresses.   The rest of the cast included Sarah Boor, Hayley Craig, Olivia Fahy, Esther Hiller, Isabella Minns, Andy O’Hanlon, Emily Palmer, Cassie Rouse and Rebecca Storey.

The script was packed with detail, interesting facts and reflections of the emotions aroused at the time. A real live air raid siren, the children’s leather cases and gas masks (with inevitable skits ensuing), Anderson shelters, a gas rattle

Accompanied by James Fletcher on piano, a number of familiar songs from the time were featured including ‘There’ll always be an England’, ‘Wish me luck as you wave me goodbye’, ‘Run Rabbit…’, and ’Pack up your Troubles’, to name but a few.

This was indeed a most successful and ambitious project.

Rosemary Westwell

Positioned in the presbytery towards the east end of the building, the voices filled the vaults robustly and the brass and percussion rallied magnificently while Jonathan Lilley played the organ with his usual panache. …

The programme of mostly sacred pieces heralded the Christian religious Feast of Christ the King, the last Sunday of the church year – the one before the beginning of Advent. Composers included Finzi, Bullock, Mathias, Howells, Britten, Vaughan Williams, Tippett, Ireland, Bliss, Walker, Rose and Rutter – an array of some of the greatest.

The opening ‘God is gone up’ by Finzi brought matters to attention with vibrant fanfares from the brass and potent singing from the choir. It was interesting to note that the work had been arranged by the Director of Music at the Cathedral, Paul Trepte, who was in the audience at this concert.

The Bullock, ‘Give us the wings of faith’, brought out the most reflective quality of the choir, while ‘Lift up you heads’ by Mathias was punctuated with quirky attention-grabbing rhythms that never missed a beat. The mystery in the line ‘Who is this King of glory?’ was mesmerizing.

Jonathan gave ‘Rhapsody no. 3 in C sharp minor’ by Howells good measure, revelling in its moments of bombastic declaration that reflected the environment in which the composition was written – during Zeppelin raids which made it impossible for the composer to sleep. What better way to cope than to pen a composition of this magnitude! Jonathan’s skill brought out the cohesive quality of the work, enhancing the powerful effect of the regular poignant falling chromatic lines.

Then, suddenly, trumpets sounded from afar performing ‘Fanfare for St Edmundsbury ‘by Britten. The distant call of the trumpets reflected the environment for which the piece had been written originally. It had been written for the ‘Pageant of Magna Carta’ to be performed in the grounds of St Edmundsbury Cathedral, Bury St Edmunds. The three contrasting trumpet solos gelled perfectly in their final combined effort.

The men’s voices added warmth to Vaughan William’s ‘The Call’, while King’s Chapel Choir oozed luxurious harmonies in Tippett’s arrangement of the spiritual ‘Steal Away’. Ireland’s attractive writing was enhanced with the sheer beauty of the soprano and alto voices in ‘Ex ore innocentium’ and Prime Brass treated us to a vibrant snippet of theme music for a BBC series on British Architecture – ‘The Spirit of the Age’.

One notable factor of this event was the slick movements of various members of this large mass of performers. The opening strands of ‘I will lift up mine eyes’ by Walker came from beside us to the right and the effect of King’s Barbers’ expressive qualities made the piece very moving. Peter North’s expertise as their director was in no doubt.

With antiphonal effect, Barry Rose’s unaccompanied ‘Love’s Endeavour, Love’s Expense’ was sung by King’s Camber Choir to the left of us and the singers certainly brought out the charm and delicacy of the work.

The concert culminated with Rutter’s ‘Gloria’, a work of depth based on Gregorian chants. Choir, Prime Brass and organ performed magnificently, heightening the excitement and vitality of the first and third movements while pausing thoughtfully to reflect the prayerful central movement.

This was a magnificent concert and a testament of Ian Sutcliffe’s inspirational directorship and conducting. With music of this quality to aspire to, there will no doubt be a clamouring for The King’s School’s recently announced of scholarships for budding male singers in the sixth form.

The King’s School’s next major event will by the Charity Concert on Friday 2^nd December 730 in the Hayward Theatre. Contact:  The Gibson Music School (01353 653931) email: lisabushell@kings-ely.cambs.sch.uk

Rosemary Westwell

(note: the entire review may be found in due course on www.localsecrets.com)

Review: Robbie Stern (violin) and Philippa Naylor (piano) at the Hayward Theatre in Ely On Friday 11^th November 2011 for The King’s School Ely’s nineteenth season

Robbie Stern (violin) and Philippa Naylor (piano) captured the hearts and minds of the audience in the Hayward Theatre, Ely on Friday night. The regular supporters of the King’s School Ely Concert Society series have come expect an event of the highest quality and they were not disappointed.

Robbie and Philippa, two students in their final year at Cambridge University, knew their stuff. Robbie demonstrated an assured command of his instrument. No matter which techniques the pieces demanded, he executed them effectively every time. Philippa also displayed a tremendous technique and shaped her contributions expertly to match Robbie’s well.

The programme consisted of pieces that were Robbie’s favourites and the decision to include such demanding compositions for performers and listeners certainly paid off. The instrumentalists’ empathy with the composers’ intentions made their playing credible and captivating.

Such was the homely atmosphere that these concerts have come to engender, the audience was more than happy to wait a little before the concert began so that Robbie’s parents had a chance to get to the concert hall from Ely station.

Robbie chose to open the concert with a charming movement from J S Bach’s PartitA No.1 in B minor for solo violin: Allemande – double. It became immediately apparent that Robbie has a most endearing capacity for bringing out the musicality of a piece while at the same time maintaining a sense of tension and restraint that creates that special bond between composer, performer and audience.

Philippa then joined Robbie on stage and they performed Sonata for Violin and Piano in G Major by Maurice Ravel. Robbie introduced the item and mentioned how Ravel had said he believed the violin and the piano had little in common and could never enjoy complete equilibrium. This piece certainly displayed this attitude by the composer. However, just as I have difficulty in accepting Ravel’s apparent boast that he could describe anything in music – even a chair, it is difficult to accept that these two instruments were entirely incompatible. Whatever the intension of the composer, these skilled performers did have rapport, their music although seemingly ‘at odds’ at one level, was nevertheless cohesive with effective communication and understanding between the instruments. The opening Allegro contained moments of mutual understanding, effective dialogue and intriguing juxtapositions that nevertheless ‘matched’.

The second movement reflected the kind of blues music Ravel probably heard in the streets of Paris. …

The concert ended with another challenge for the performers: Serge Prokofiev’s Sonata for Violin and Piano no. 2 in D, Op. 94. This work offered Prokofiev’s attractive melodies and classical structures and these made the unusual intervals of his day all the more acceptable to the unaccustomed ear. The first movement, Moderato, had a most tuneful opening, and Robbie’s exquisite restraint was again particularly noticeable.  The second movement, the traditional Scherzo, was indeed playful and jolly at times, the third movement, Andante, created an overall sense of suspended quiet and calmness with occasional more thrilling developments. The fourth movement, Allegro con brio, opened with a flourish and the piece certainly added fiery liveliness to the proceedings.  In this movement the amazing technique of the performers was particularly apparent. The potency and strength of Rebecca was never in any doubt even though she performed as ‘accompanist’ throughout the evening. As expected, Robbie rose to the occasion and filled the hall with sounds of dramatic intensity, providing an admirable ending to this most enjoyable concert.

Forthcoming events:

Wednesday 16^th to Friday 17^th November King’s Company Play ‘Improbable Fiction’ by Alan Ayckbourn 7.30 in the Hayward Theatre admission free

Sunday 20^th November ‘Christ the King’ Choral Concert King’s Chapel Choir, Prime Brass and Jonathan Lilley (organist) 8 p.m. Ely Cathedral

Thursday 24^th November Lunchtime Live Concert 1.10 Ely Cathedral

Friday 2^nd December, King’s Charity Concert 7.30 p.m. Hayward Theatre

Friday 20^th January King’s Ely Concert Society, Richard Uttley (piano) 7.30 Recital Hall

Thursday 26^th January lunchtime Live Concert 1.10 St. Mary’s Church Admission free

Contact: Lisa Bushell at King’s Ely Music School (01353 653931) email: boxoffice@kings-ely.cambs.sch.uk

www.localsecrets.com (for the entire review)

Rosemary Westwell

The audience became an integral part of the set immediately as they found themselves seated in a ‘TV studio’ during the recording of a game show called ‘If the cap fits’. At appropriate moments the audience was asked to vote as individuals, holding up their ‘if the cap fit cards’ when they thought a particular description of the background of a person matched the name given.  In others’ hands, such activity could have easily detracted from the dramatic events on stage, but with this team, it became a natural and effective ingredient.

Central to the plot was the arrogant Game Show Host Jimmy Roscoe (played by Jon Bridgeman). His narcissism, meanness and history as a sexual predator darkened a script that was packed with the jaded banter of studio staff trying to overcome the inevitable in-fighting of such a tightly-knit community. The Director, Mary Haskins (Jenny Aspland), did indeed ‘direct’ proceedings and her calm authoritative voice brought sense and structure to a group of varied, sensitive beings.

Jackie (Delia Tickner), the Production Assistant, was everywhere, cheerfully battling to keep order relieving the tensions of her job with crowning moments of dry humour.

A delightful array of contestants enlivened events: Terrence Rainer (Lee Sherwood) and his macho crassness contrasted well with celebrity guest Veronica Mellows (Ann Pallet).  More spice was added by Susan Barnold (Sara Lang), a well-focused driving test examiner, and the erudite Professor Humphrey Blethyn (David Tickner) pontificated wonderfully.

Events were further enhanced with Veronica’s two squabbling children Tom (Philip Evans) and Lucy Emily Palmer). Tom’s ‘look’ at the end of the show was priceless. Vision Mixer Michelle (Kim Turner), the calm assuredness of Inspector Wormald (David Moat) and his obliging constable PC Butterfield (Scott Robertson) and Studio Security (Josh Schunmann) were also essential contributors.

One of the most entertaining characters for me was undoubtedly the Make-up Artist, Susan Roach (Esther Hiller). Her naïve timidity and heartfelt outbursts as events turned out quite differently to those she had expected were portrayed magnificently. She was indeed one of the best of an outstanding cast.

Producer David Tickner is to be congratulated for a fine show supported by an excellent team, namely: Costumes (Lynn Quelch), Lighting and Sound (Nigel and Simon Thompson), Cameraman (Steve Evans), Box Office (Martha Waterhouse and June Lawrence) and Publicity (Alison Palmer and Oliver Waterhouse).

Viva Theatre’s expected participation in theRSCOpen Stages project with a production of ‘Much Ado about Nothing’ at Anglesey Abbey next July is a fitting complement to their admirable achievement tonight.

Contact: www.viva-group.org.uk

Rosemary Westwell

So much of Handel’s Messiah is familiar and so much has been done to popularise performances.  Yet under the directorship of Ian, technical know-how and an intimate, profound understanding of the composer’s thoughts brought the work into shape, revealing dramatic qualities that have often been subdued and demonstrating the true worth of Handel as a composer.

The choir and orchestra, as always, excelled. Precise entries and dramatic contrasts in volume, pace and texture were explored to the full. Ian’s contribution as conductor and accompanist on the organ and harpsichord was undoubtedly inspirational.

The constant sense of excitement and awe was enhanced by the variety of soloists within the performance. The opening recitative Comfort ye sung by the tenor from the back of the chapel signalled a performance that was going to be exhilarating and unforgettable.

The Orchestra of the Age of Reason was an integral part of the wonderful effects, performing ‘as one’ while providing noticeable clarity in the texture which remained strong, warm and supportive. The inordinate skill of the instrumentalists was a constant feature.

New life was breathed into familiar choruses. The vibrant impact of And the glory of the Lord, the lightness and clarity of the choir’s embellishments in And he shall purify the sons of Levi and the refreshing liveliness and warmth of For unto us a child is born were matched by the striking power of Glory to God, the deep contrasts in Surely, And with his stripes and All we like sheep, the masterful men’s voices in He trusted in God. The culmination of the first half was the rousing Hallelujah chorus with choir, orchestra and audience combining to fill the Lady Chapel with spine-chilling sounds. Participating in this concert was far greater an experience than any other I have known. This is largely due to Ian’s perceptive attention to every detail that makes up his performances. His carefully selected choir members not only sang beautifully and combined cohesively but managed to do this while often placed at different positions within the Lady Chapel and often separated from the other singers of their part. I was able to choose between soprano and alto with strong representation from both parts in close proximity —a testament to Ian’s ingenious choreography.

In addition, Ian’s understanding of the special acoustics of the Lady Chapel brought amazing clarity to the performance and his joyous celebration of Handel’s ideas led to many exquisite moments when he held  back the final phrase for almost too long so that we could all could savour the beauty and expression.

Delights after interval included the opening unaccompanied choir’s Lift up your heads, O ye gates, the rapid declarative counterpoint in Let us break their bonds asunder ,the positive momentum of But thanks be to God and the triumphant , robust and rousing elements of the final Choruses: Worthy is the Lamb, Blessing and honour and Amen.

As expected, this was a unique, exciting and unforgettable performance – one of ADeC’s best.

Future Concerts by Cambridge Voices include:

Saturday 22^nd October 2011 7.30 pm Music and the King James Bible of 1611 in St Columba’s Church, Downing St., Cambridge

Sunday 27^th November 2011 4.00 pm Britten’s A Boy was Born in the two churches of Swaffham Prior

Good Friday 2012 Bach’s t. John Passion (with The Orchestra of the Age of Reason) St Columba’s Church, Downing St., Cambridge and in the two churches of Swaffham Prior the next day

Monday 27^th August 2012 Bach’s Mass in B minor (with The Orchestra of the Age of Reason and the   augmented choir of Cambridge 40 Voices)

RJWestwell

Before climbing into the organ loft, he spoke to the audience offering fascinating information about the pieces he was about to play. One notable comment was his awareness of the attendance of Dr Arthur Wills, the composer of two of the pieces to be performed. ‘No pressure there’ Jonathan said with typical humour.

The recital opened with a grand and joyous performance of ‘Hora giocosa’ (‘Happy Hour’) by Marco Enrico Bossi. This was followed by ‘Prelude and Fugue (Alkmaar)’ by Arthur Wills. Apparently, this composition was written especially for the organ at Alkmaar which did not have sufficient notes for the prelude and fugue Arthur had originally planned to play. His simple solution was to compose this piece especially. But there was nothing ‘simple;’ about the tight structure of this composition. The prelude was an agreeable and clear introduction, encouraging the listener to look forward to the traditional fugue that followed. The intricately-designed fugue had a tightly-woven structure that nevertheless moved forward with a sense of momentum and purpose while remaining musically varied, effective and interesting.

Liszt’s ‘Evocation à la Chapelle Sixtine’ provided an inspiring contrast in the best of Romantic traditions. Jonathan played the piece with real empathy. His timing was exquisite, giving strength to the dramatic intensity or utter serenity of the music as it developed.

Jonathan drew attention to Arthur’s skill as a composer in his performance of ‘Scherzo-Fantasy: The Ely Imps’.  Inspired by a grotesque gargoyle in the choir of the Cathedral, this contemporary piece was brought alive by Jonathan’s technical wizardry. Sophisticated humour permeated moments of quirky mischievousness, ethereal calm or eerie expectancy and the discords in particular were put to good use.

This delightful recital ended appropriately with the more traditional ‘Grand Triumphal Chorus’ by Alexandre Guilmant. We are fortunate indeed to have such talent in our midst. Jonathan’s amazing ability extended to giving a piano recital a few days after this one – on Thursday11th August in the Cathedral — well worth attending.

Forthcoming organ recitals in Ely Cathedral on Sundays at 5.15 pm include:

14^th August Paul Trepte, Director of Music at Ely Cathedral

21^st August Sarah MacDonald Director, Ely Cathedral Girls’ Choir

28^th August James Thomas, Director of Music, St. Edmundsbury Cathedral

Other concerts in Ely Cathedral:

Sunday, 4^th September 5.15 Prime Brass, with Jonathan Lilley (organist) and Paul Trepte (conductor)

Sunday 11^th September 5.15 ‘Organ Lollipops’ in which Paul Trepte and Jonathan Lilley play audience requests (send to j.lilley@cathedral.ely.anglican.org)

Monday 29^th August 7 pm in the Lady Chapel, Cambridge Voices and the Orchestra of the Age of Reason conducted by Ian de Massini presenting ‘Messiah’ (unabridged)

Contacts:

www.organrecitals.com

www.elycathedral.org