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| Saturday 17 December 2011 Stories of Christmas Schütz: The Christmas Story
Edward Lambert: Brighter than the Sun Kristy Swift (soprano)
Peter Wilman (tenor)
Jeremy Hagan (bass) Musical details: www.edwardlambert.co.uk/choral&vocal/xmasconcert.html | 
| | | Sunday 16 October 2011 Purcell: Dido & Aeneas
in St Mary's Church, Thatcham as part of the Thatcham Festival | | 
| Newbury Weekly News Thursday, June 16, 2011 A regal performance Newbury Chamber Choir, at the Church of the Assumption, Burghclere, on Saturday June 11. This concert began with a performance of Handel's Anthem for the Funeral of Queen Caroline from 1737. The queen died on November 20 and Handel was commissioned to write this work for the funeral at Westminster Abbey on December 17, leaving him just under a month to write it. The music was originally played after the funeral by an orchestra of 100 musicians and 80 singers. Newbury Chamber Choir and Orchestra had only a fraction of those numbers but they gave a very good account of this stirring anthem. It began with a 'symphony'-style opening by the orchestra and followed with 13 vocal and instrumental sections with, on this occasion, the voice of actor Don Crerar reciting reminiscences from the life of George II and Queen Caroline between movements. The early choral parts are suitably dark and mournful, fitting the occasion for the music although Handel's soaring score is bright enough during the middle and later movements. The orchestra and choirs, under the direction of Edward Lambert, brought out the contrasts in this music very skillfully, producing an impressive reading throughout the work. Don Crerar, dressed in wig and robes as King George II, gave an atmospheric performance as the bereaved monarch. Rebecca Millward, a 19-year-old student at the Guildhall School of Music and Drama, played Handel's Oboe concerto in G minor with good control and attach throughout. The Largo was played with sustained lyricism and warmth and she ended this short work with a flourish on the final Allegro. The last composition in this 'Handel Fest' was his Te Deum in A major, first performed in 1726. Played with authority by the choir and orchestra, this piece featured well-structured orchestral playing, with strong parts for bassoon and strings. Conductor Edward Lambert brought out all the subtleties of this music with controlled but effective conducting to which both choir and orchestra responded positively. DEREK ANSELL | 
| | | Every voice counts Newbury Chamber Choir and Orchestra, at St Mary’s Church, Thatcham, on Saturday, April 9 NEWBURY Chamber Choir’s concert on Saturday evening was a departure from the usual repertoire of baroque and classical music accompanied by chamber orchestra. We heard three 19th-century pieces accompanied by organ, works that are often performed by choral societies with large numbers of singers. Here every voice counted and this enhanced our appreciation of the performances. The concert began with an interesting piece by Liszt called Via Crucis, which is a meditation on the Fourteen Stations of the Cross. The choir, whose musical director is Edward Lambert, moved around the church for different sections of the piece. The choreography was well handled and added to the success of the piece. The short movements, changing textures and the organ interludes all added to a captivating performance, which was poignant, especially in this season of Lent. The soloists were John Long (tenor) and Stephen Holmes (bass) who are both members of the choir and their contributions were very effective. This was a powerful and meaningful performance, which held our attention as the drama was enacted within the music, underpinned by a significant organ part. After the interval, we heard one sacred chorus by Brahms, O bone Jesu, for ladies voices only. The main piece in the second half was the original 1887 version of the Mass in D major, Op 86 by Dvorak, which was written specifically for chamber choir and organ. The solo parts were sung very successfully by the choir; this can be a challenge, as soloists often have to sing more complicated parts than the chorus and it can be difficult to achieve unity. This was not the case here, and it was very refreshing to hear individual voice parts singled out. The choir shaped the sensitive moments, brought out the lyricism and emphasised the rhythmic phrases. The organ was superbly played by Mark Browne, the resident organist of Bradfield College; it is no mean feat to play a difficult and challenging accompaniment and watch the conductor. The guest conductor for the evening, Paul Robinson, held the attention of all the singers and directed a very enjoyable concert. ROSEMARY EVANS | 
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| Inspired by life, death and poetry Newbury Chamber Choir and Orchestra, at St John’s Church, Newbury on Saturday, November 13 There was much anticipation about the world premiere of Edward Lambert's Rossetti Requiem performed by Newbury Chamber Choir and Orchestra, on Saturday, conducted by the composer. This piece, which was composed for performance close to Remembrance Sunday, is a very unusual requiem in that it is based on a cycle of 10 poems by Christina Rossetti,influenced by the Pre- Raphaelite Brotherhood. This is not a religious work, rather a humanist response to life's spiritual and emotional journey and attitude to death. This was difficult music for all the performers, including the professional musicians in the orchestra and the soloists, Jacqueline Pischorn (soprano), Grace Wain (mezzo-soprano), Paul Robinson (tenor) and Ian Caddy (bass). The orchestration included the use of deep concert toms, vibraphone and tambourine, superbly played by Joe Richards. The performers were all outstanding and it was clear that much preparation had been involved. Lambert gave clear direction and brought everything together in an inspirational performance. This was a brave composition with some hints of Britten and Vaughan Williams. There was much anguish in the music. However, long passages of disturbing expressionistic sounds were relived by calmer and warmer sections. There was clever use of programmatic ideas and irregular rhythms. Inevitably, there was avid discussion about the piece during the interval and the Mozart in the second half of the programme was like soothing balm. The Clarinet Concerto in A major, K622, with Elizabeth Drew as soloist and director sounded lovely in the church acoustic. The music uses the full range of the instrument; it was composed originally for basset clarinet, which has an extended bass range. Drew’s performance was masterful and her dialogue with the orchestra was perfect. The final work in the programme was Litaniae Lauretanae, K109, directed from the chamber organ by Lambert. This short Litany of Loreto for choir, soloists and orchestra, in praise of the Blessed Virgin Mary, was an effective choice to bring the concert to a peaceful conclusion. Rosemary Evans Newbury Weekly News, Thursday, 18 November 2010 | | | | Baroque antidote to football frustrations Newbury Chamber Choir and Orchestra, at St John’s Church, Newbury, on Saturday, June 12 A FAIRLY full church for this baroque concert on Saturday evening proved that there is something besides World Cup football during the next fortnight. Opening with Telemann’s Missa Super , Newbury Chamber Choir and Orchestra brought out the warmth of the music with a spirited beginning. The same composer’s Concerto for Viola followed, with Patrick Rutland bringing out the full resonance of this gentle, pastoral piece, especially in the Largo. He used a brisk attack in the Allegro, his bowing assured and with the supportive playing of the chamber orchestra, ensuring a fine performance. The Bach Mass in G Minor rounded out the first part of the programme and in this work the choir sang their parts with crisp, clear diction and with attention to detail. Full marks to the soloists here as Ian Caddy’s bass was warm and vibrant and there were strong solo parts for Fiona Scott MacArthur, alto, and Ben Alden, tenor. The Gratias section represents the most typical Bach writing and was well handled by orchestra and bass soloist in tandem. The choir blended their vocal parts skilfully throughout making this a combined effort of considerable quality. In the second half, we hard a stirring concerto played with brio by Madelieine Millar on recorded and Harry Davidson, bassoon. Both are local young musicians and are now members of the county youth orchestra and scholars with Berkshire Maestros. Telemann’s Magnificat ended the programme, with Edward Lambert directing the proceedings. The Bassoon and Recorder Concerto was directed by Catherine Millar. Lucy Huckle was an impressive soprano soloist, stepping into the breach at very short notice. Harry Davidson and Madeleine Millar are part of a bassoon quartet who will travel to Beijing this summer to represent the UK at an international music conference. They are currently trying to raise another £1,000 to money already collected to fund their trip, something they would not wish to let slip through their fingers. Unlike the England goalkeeper. DEREK ANSELL Newbury Weekly News, Thursday, 17 June 2010 | 
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| Crucifixion reprised Newbury Chamber Choir and Orchestra, at St Nicolas’ Church, Newbury, on Friday, April 2 FIRST performed in Marylebone Church on February 24, 1887, Stainer’s Crucifixion has received countless performances over the years. The text was selected and written by the Rev J. Sparrow-Simpson. Although composer Ernest Walker dismissed it in 1924, saying that “musicians today have no use for The Crucifixion” and even the composer, Sir John Stainer, was said to have referred to it with Eric Morcambe-style nonchalance as “rubbish”, the work continues to be heard at concerts and in many new recordings to this day. Church Thatcham and the Newbury Chamber Choir, musical director Edward Lambert conducted a straight, no frills interpretation of this solemn work. The soloists fitted in well with the choir’s reading, with Paul Robinson proving to be a robust tenor with a vibrant voice, although perhaps with a shade more vibrato than was necessary. Ian Caddy possesses a dark, resonant bass voice, ideally suited to Stainer’s oratorio. Tim Cooke provided the organ accompaniment and it is arguable that some of the best passages of this piece are played on that instrument as the choirs take a brief rest. His use of light and shade and general dynamics was certainly ideal as a contrast to the fairly heavy choral parts. The complete performance, taking in all the constituent parts, was certainly given with just the right amount of gravitas to sustain this examination of the Easter story. Edward Lambert conducted the combined choirs with a steady, relevant approach and they responded with clear, resonant voices. At the conclusion, prayers were said and a collection was made towards the costs of the presentation. DEREK ANSELL Newbury Weekly News, Thursday, 8 April 2010 | | | | Days of old when night was cold Newbury Chamber Choir and Orchestra, at St Nicolas’ Church, Newbury, on Saturday, November 28 PURCELL’s setting of Dryden’s King Arthur story is set in an indeterminate historical period between Saxon times and the late 17th century and performed by six soloists, a small orchestra and chorus. Three cheers for Newbury Chamber Choir in making this complex piece come alive and providing more than two hours of entertainment under their indefatigable conductor Edward Lambert. Arrayed in a rainbow of shirts, they sung with enthusiasm and conviction, and provided some colourful battle noises and cheers when good defeated evil, twice in the same evening. Don Crerar’s declamatory narration opened the performance in a most engaging style but, unfortunately, the other soloists simply read their parts from a script. In Purcell’s time, two performers represented each character,one to talk and one to sing, and this may well have been more effective than combining roles. The singers didn’t seem very comfortable with the semi-dramatisation and the space limitation and evening dress didn’t help. For example, counter-tenor Stephen Harvey, as a rather stiff King Arthur, seemed totally unperturbed in the capture of his sweetheart Emmeline by the evil Grimbald, and upon her eventual escape and their reunion, he forgot to look at her, let alone smile. The soloist did sing beautifully, with some wonderful interpretations of the music, but you needed to be in the front half dozen rows to hear properly. I particularly enjoyed act three, where that dastardly Grimbald woos his prisoner Emmeline, while Merlin tries to remove the spells from the enchanted forest enclosing Grimbald’s castle. There was hilarity in his unlikely seduction technique and the stuttering vocal lines to portray chilly weather, but this didn’t stir the audience as perhaps one would have hoped. If Saturday night’s weather had been a bit better and the church a little less chilly, then maybe the audience would have been bigger and more easily moved to laughter. The Newbury Chamber Orchestra did very well with this highly-charged and complex music and delivered some excellent playing, in both the accompaniments to the singing and the scene-setting dances and entre-acts. The recorder duets and bass playing were particularly fine. CATHERINE SIDE Newbury Weekly News, Thursday, 3 December 2009 | 
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| Music for a Florentine Wedding 1539 arranged with Songs for a Florentine Apollo by Edward Lambert | | | | Come & Sing Brahms' Requiem, January 2009 | 
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| Review in the Newbury Weekly News, 13 November 2008 Newbury Chamber Choir and Orchestra at St John's Church, Newbury , on Saturday, November 8 Reviewed by Patrick Cogswell Anthem was choir's crowning glory A jam-packed church gave a festive feel to Newbury Chamber Choir’s concert on this night of torrential rain. It didn’t inhibit Edward Lambert and the Newbury Chamber Choir and Orchestra from presenting an offering with more goodies than Christmas itself. The first course was Haydn’s St Nicholas Mass. Guy Edwards has a very light and airy baritone voice which worked splendidly with Paul Robinson’s forthright tenor. Mixing the very deep and rich tone of Jeanette Ager with the brilliant operatic sound of Olivia Hinman was more problematic. The choir and the orchestra, led with a flourish by Jean Paterson, watched attentively as the battle unfolded. That, however, was just the start. The church’s remarkable Byzantine nave was soon filled with wave after wave of Handel’s Water Music, to match the downpour outside. The.crucial parts of this display were taken firstly by the French horns of Hugh Seenan and Simon de Souza, and then by the oboes of Elizabeth Fife and Lydia Griffiths Both groups played an immaculate and pacy allegro followed by the hornpipe finale. The Aria was a surprise too: usually a meditative piece, Edward Lambert’s ever-refreshing direction zipped it up to nearly double its usual speed. Refreshments over, on came an eagerly-awaited James Toll – a very busy man these days – who began his violin training with John Kane in Newbury and is now, at the age of 21, conducting as well as playing at a number of very distinguished venues. No pomp and circumstance here, however; as he chatted casually with the ensemble before putting forth his Mozart Concerto in A Major. As was the custom of the time, he directed the orchestra from the front, to their evident enjoyment, fluidly quoting all manner of perennial favourites in the cadenza; such is this young man’s comprehensive command of music. I’m sorry not to have asked about his instrument and bow. The effect of both was electric. Duly charged up, choir and orchestra burst forth in a glorious version of Handel’s Coronation Anthem complete with a prototype Hallelujah Chorus. This anthem evidently got King George II off to a magnificent start and it brought us to a glorious conclusion. Part of the pleasure lay in reading the scholarly and entertaining programme notes. I asked Edward Lambert for the author’s name. “I suppose it was me” was the answer. I rest my case. | | | | June 2008 - Rossini Petite Messe Solennelle, Edward Lambert Te Deum (first performance) | 
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| 2008 - performances of Stainer's Crucifixion inaugurated in Burghclere & Thatcham | | | | Review from Newbury Weekly News published Thursday November 22, 2007 God's shenanigans a little naughty, but nice Newbury Chamber Choir and Newbury Baroque Players: Music for Three Monarchs at St John the Evangelist Church, Newbury on Saturday 17th November 2007 With music now the most available commodity in the universe we cannot imagine the narrow pinnacle of musical achievement of the past. The material for Music for Three Monarchs was written for an audience of the very few, and in the case of John Blow’s Venus and Adonis, the naughty crowd at that. Though described as a masque, the sumptuously prepared and illustrated notes marked Venus and Adonis as the first true opera in England, Venus (Jacqueline Pischorn) started by teaching a cheeky junior Cupid to fire his arrows straight. Cupid Jr in this case was Angus White, a very young member of a spiffing collective of young Cupids, whose highly-focused acting had the sparkle of the original – a thoroughly entertaining young man. Life mirrors art, and Pischorn was also responsible for coaching the choir. It showed in their happy and confident projection. Adonis (Callum Thorpe) made the pastoral valleys ring with his powerful, rich and sensuous voice, as Sonia Stockel, who herself is an expert in the early classics, emerged as Cupid-in-chief. (In the original, Venus and Cupid were played by the King’s lover and her daughter). What with winglets and bows, as well as Stockel’s expertise, our principals did their best to instil drama into what was necessarily a restrained staging. The prime message of this delightful and suggestive performance was “Choose for the formal fool” or in other words “Treat ’em mean to keep ’em keen”. Certainly works with me. As Purcell followed Blow as director of music at Westminster, so it was that the whole ensemble bounced back with Welcome for the Duke of York. Under the direction of distinguished conductor and composer Edward Lambert, the choir seemed more relaxed with this most interesting music, for Purcell, even with political hack work, never let his inventiveness sleep. We had heard the recorder of Imogen Lambert earlier this year, in Burghclere with Sarah Derricks. Here she was joined by Emma Eisele; together they produced an incredibly rich and sweet tone. James Toll gave an excellent leadership to the Newbury Baroque Players in which the bass section had an especially fine role in the difficult but dazzling Many Such Days, from the birthday ode to Queen Mary. St John’s Church ahs a very good acoustic, with good carrying power, so I am not sure why it is not used more. Even better, you don’t have to brave the town centre mayhem. Bring a cushion though; Venus would not have got very far with Adonis in those penitential seats. PATRICK COGSWELL | 
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| Review from Newbury Weekly News published Thursday June 21st 2007 Baroque with a Passion Newbury Chamber Choir and Newbury Baroque Players: Masters of the German Baroque at Burghclere Parish Church on Saturday 16th June 2007 Like J.S.Bach, on his famous 600 km pilgrimage to Lübeck, Newbury Chamber Choir began with Buxtehüde Magnificat with a rich and melodic soprano and alto line. The men for the moment remained behind the ladies, however, in more ways than one. It might have been the cosy acoustics of Burghclere Church, or that some of the basses were crammed in to the very crevices of the rood screen, but at least the line was soundly backed by the double bass of Katie Long, who had much to do in music of a far different sort later on. The orchestra quietly took the stage with Brandenburg 2. Less familiar that its sister concertos, it gave us the first taste of the first-rate talents of James Toll (violin), Alexander Parker (oboe), (Recorder) and Matthew Bright (trumpet). The recorder was again taken up with Telemann’s Trio by Sarah Merricks in dialogue with Parker’s oboe, while the chaperone of Neil Charlton’s cello continuo held the shy but intense duet at a distance. It fell to Heinrich Schütz to close this restrained first half, as it began, with a Magnificat. The very sociable interval ushered in a complete change of period and tone in which Edward Lambert introduced his own Trio Sonata. To present such an ‘edgy’ piece to an audience thirsting for the Baroque is almost like sitting Brian Sewell down to dinner with Tracey Emin. What emerged was an ear-training exercise in the medieval device of singluti, or ‘hiccups’. Lots of hard work, particularly by Katie Long, got most of us going, with the prospect of further rewards to come, for on walked both Sarah Merricks and Imogen Lambert again with James Toll, in an absolutely delightful Brandenburg 4. An audience whose antennae had been sensitised by Lambert’s Trio Sonata was swept away. Telemann’s Laudate Dominum Omnes Gentes, is the shortest psalm in the Good Book and a fitting finale; positive, tuneful, happy; as in a story of true love, everyone came together at last with the right passion and fervour. A most entertaining and interesting evening; watch out for their next at St.John’s Church, Newbury, on November 17th. PATRICK COGSWELL | | | | Review from Newbury Weekly News Flirting with concerto Young violinist Hannah Medlam with her joie de vivre Newbury Chamber Choir: Beethoven Comes to Highclere Thorngrove School, Saturday May 8th 2007 Three hundred good souls filled the cavernous new hall at Thorngrove School, which was the setting for a grand Beethoven concert. Brilliant he may have been, but that night the great composer was forced to share the honours with the 18 year-old violinist Hannah Medlam. But first to the Mass in C which the chorus opened with confident restraint. The orchestra also displayed great sensitivity and the two combined well, creating ample space for the superb soloists Clare Bessant, Jeanette Ager, Ben Alden and Ian Caddy to work their magic on the piece. The choir were in better shape than I have ever seen them before, moving and breathing the music with a dynamic control that was not there a few years back. I can’t relax in a concert until I know that the performers are reliable but I was at ease within seconds here. The Mass has many high spots, but for me I particularly liked the gentle softly-sung dialogue between the choir and the soloists in Benedictus. Hannah Medlam then played the violin concerto. She was serene, played sweetly, in complete control and to damn it all, she was enjoying herself! The orchestra were on a light touch and Hannah enjoyed the freedom to lead from the front. With a sensitive cantabile style, perhaps found from a love of singing, Hannah worked gracefully through the concerto. She exercised rare judicious restraint that I associate with, dare I say it, the English. She put me in mind of Tasmin Little. You never felt that Hannah was in a hurry or that she was troubled by the piece in any way. Such was her quiet confidence that she could flirt impishly with the music, as in the return from the cadenza where she reluctantly, cheekily hung on to her note when the orchestra had already picked it up and moved on. Strange it was to try and follow that performance at all, but with the rather peculiar Fantasia for Piano, Choir and Orchestra, perhaps we got a better impression of the Beethoven. Like the violin concerto, this too was bashed out on the first night with practically no rehearsal. The piece is a slightly chaotic energetic fantasia on the piano played with zesty freshness by Nigel Dickinson. He rightly managed to keep the audience on their toes by keeping the piece edgy and less reverent than most Beethoven interpretations. PHILIP BROWN | 
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| Review in the Newbury Weekly News, 30 November 2006 Newbury Chamber Choir – Cavalieri’s “Allegory of the Body and the Soul” Reviewed by Philip Brown Fantastic first Newbury was awash with tantalising concerts on Saturday, though none were more alluring than a performance of what was described as the world’s first opera; Cavalieri’s Rappresentazione di Anima e di Corpo, first performed in Rome in 1600 – seven years before Monteverdi’s Orfeo Director Ed Lambert had amazingly managed to assemble a powerful and eclectic team of professional and amateur musicians and singers to join forces with the Newbury Chamber Choir to produce this great entertainment. Actor Peter Terry narrated, playing the part of Cavalieri himself – usefully and wittily keeping us informed. The band struck up with the strings that were joined by an odd mix of wind instruments, including saxophones. With these forces Lambert drew a satisfyingly pungent-rich sound. Then the soloists emerged – and they were either good or very good. The work describes the journey that body and soul make towards heaven and the worldly distractions that try to seduce them from this path. Of all the many excellent voices we heard, some really shone; Ben Alden, John Lofthouse, Jacqueline Pischorn and Katrina Damigos all had fascinating and colourful voices. They were joined by the world famous Ian Caddy, and all were charmed by the solos of 11-year old Angus White. Many simple devices were employed effectively; splitting the choir, echo effects (which surprised some of the orchestra), simple percussion, eerie sound effects and imaginative use of the aptly Romanesque St John’s Church, with all its nooks and crannies. Add to this the charming melodies and rich choral writing, and what we got was a piece greater than the sum of its parts. But this was not a novelty piece, the writing is rich, charming and thoughtfully constructed, gently building towards an emphatic six-verse chorus. The evening was a success in so many areas and all those involved must be proud of their achievement, none more so than Ed Lambert. Without him this work would probably never have been performed in Newbury. A strange thought. But everything starts with an idea….. Well done Ed. PHILIP BROWN | | | | Extract from a Review in Newbury Weekly News published Thursday June 22, 2006 An Instrument of many guises Newbury Chamber Choir and Newbury Baroque Players: St Nicholas Church, Newbury on Saturday 17th June 2006 Harps featured in two very different recitals on one day ..... Diffident could also be used to describe Newbury Chamber Choir's approach as they filed out for a quiet but creditable opening with Purcell's Music for the Funeral of Queen Mary, solemn and sober, hardly evoking a summer evening, but then of course directory Edward Lambert was just setting us up for what was to come. First star in the firmament was Michael Buchanan with Holst's Concertante for Trombone and Organ. With his ear finely-tuned, supported attentively by Stephen Holmes, his tone throughout commanded attention, firm and bell-like. The second star, Katrina Damigos, has a most pleasing summery voice of transparent clarity yet with good follow-through in the sustained notes. With her O pray for the peace of Jerusalem (John Blow), she lifted the choir's mood in time for them to give the right sense of tension and mystery to Holst's Choral Hymns for the Rig Veda. Next on the horizon was the harp, in the hands of Jenny Broome. Not the tiny clairseach, but the full concert variety, driven by her immense experience and professionalism. She was joined by percussionist Rosie Toll, former Newbury Young Musician of the Year, playing the marimba, and with Michael Buchanan, the trio embarked upon Edward Lambert#s Concerto Cubico, conducted by distinguished repititeur Stephen Westrop. Edward Lambert's introduction, itself well constructed and rehearsed, made it easy to get straight to the rich textures and melodies of this intricate and striking piece. That could have concluded a fine concert in itself, but we had to wait for Bernstein's Chichester Psalms and the voice of the necessarily very youngest performer, Angus White, a pupil of Diane Gough. With already quite a mountain to scale set by Katrina Damigos, he turned out a real showstopper performance with his presentation of the 23rd. As for the choir, they had now cast aside their modest restraint, and, coping admirably with the Hebrew syllables, stars and chorus launched in on this spectacular work. Rosie Toll's percussion interventions were fantastic, the harp truly orchestral and Newbury Chamber Choir held all in balance, down to the last note, dying away into quadruple piano. PATRICK COGSWELL | 
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| | | | | Newbury Weekly News, Thursday, 17 November 2005 Vivaldi a crowd-puller Newbury Baroque, at St John’s Church, Newbury, on Saturday, November 12 BILLED as a Vivaldi-thon on some advertising material, Newbury Baroque settled for Music by Antonio Vivaldi on their printed programme and welcomed more people into the church than had been seen for any previous concert. The Four Seasons, a perennial favourite with concertgoers, was presented with the novel idea of having a different violin soloist for each concerto. Spring was played by William Harvey, with support from a sterling group of string players, and he made a lively, confident tart to his solo parts. The tempo dipped very slightly at the beginning but overall it was a well-structured performance. Summer featured Lukas Medlam in the spotlight with the slow, pastoral beginning well handled and he soon settled down to some confident bowing. This was another polished solo performance with the slow section played with great sensitivity by all the strings. The Seasons were then interrupted to complete the first half of this concert with a reading of Vivaldi’s Gloria, and this time we heard Jacqueline Pischorn and Catherine Rogers providing a delightful soprano duet along with sonorous singing from Newbury Baroque and bright, open string playing, underpinned by some rich bowing by Charles Medlam on cello and Gilly Anwar-Moyne on double bass. Lucie Tibbits was featured briefly with a short oboe solo. Autumn came, after the break, with James Toll as soloist and although there was another slight variation of tempo, it was, overall, a very clear and scintillating performance. Winter completed the group and Hannah Medlam’s brisk attack was well-handled and her solo work confident and well paced. Finally, we heard Vivaldi’s Magnificat, with the two sopranos in good voice again, and Mark Denza as tenor soloist. Newbury Baroque’s musical director Edward Lambert conducted a rousing performance that provided a fitting finale to an enjoyable concert in a church where the acoustic was clear, open and bright. DEREK ANSELL | 
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