"...dazzlingly good chamber ensemble…
exuberantly expressive, intimate style…
gorgeously idiomatic playing’
The Times
Saturday 13 Nov 2004
Quintessence Concert series
Aachen, Germany

Staggeringly brilliant
The chamber music ensemble The Fibonacci Sequence

The Fibonacci Sequence is the name of the English chamber music ensemble which appeared recently in the Quintessence series of concerts held in the Aachen Krnungssaal. The eight musicians , four string and three wind players and a pianist have not only outstanding soloistic skills but have the ability - together with a deep joy in making music- to unite in ensemble playing of extraordinary perfection. This showed itself above all in the performance of the two classical works, Mozart's late piano quartet in G minor KV478 and the early Septet op.20 by Beethoven.

Perfect balance

The violinist Stephanie Gonley, full of temperament, brilliant of tone, Yuko Inoue, the violist, her equal in beauty of tone and musicianship, the cellist Andrew Fuller, extraordinarily flexible and accommodating, and the pianist Kathron Sturrock, delighting in the piano part with its occasional almost virtuoso passages ñ these gave a performance of Mozart's masterpiece which in intensity of expression and sensitivity towards sound left nothing to be desired. The balance between strings and piano was magnificent.

The same spirit imbued the ensembleís performance of the final work in the programme, Beethoven's Septet: apart from Schubert's Octet, this was the last classical expression of the uncomplicated mood of a Serenade. The strings were joined by Duncan McTier on double bass, Julian Farrell , clarinet, Dick Skinner, bassoon and Tim Brown, horn. It was a performance which was enriched by the highest skill and the most perfect ensemble playing, gloriously cantabile in the Adagio, staggeringly brilliant in the fast movements.

There were also rarities. The arrangement by Franz Hasenˆhrl of Strauss' Till Eulenspiegelí for violin, double bass, clarinet, bassoon and horn belongs to the section of chamber music where jokes and wit have their corner, and appeals above all to the listener who is familiar with the original version for large orchestra.

More interesting was Not Just a Place for the unusual trio combination of viola, double bass and piano by the English composer Cecilia McDowall. The piece, playing with Brazilian Tango rhythms in a virtuoso manner, begins gently but rises to a clangorous climax: its uninhibited, bravura performance gave a modern counterpoint to this first class concert.

The audience was overwhelmed, and showed this enthusiastically at the end. Aachener Zeitung