"...dazzlingly good chamber ensemble…
exuberantly expressive, intimate style…
gorgeously idiomatic playing’
The Times
Shropshire Music Trust
local review

it would be hard to imagine a more inspired, profoundly musical group of soloists playing as a chamber ensemble


For their third and final programme in Shropshire Music Trust's French Chamber Series, Fibonacci Sequence played a delightful programme of French chamber music by 19th and 20th century composers, though the opening work was by Mozart!
The CVs of the five musicians read like a Who's Who of the classical music world and it would be hard to imagine a more inspired, profoundly musical group of soloists playing as a chamber ensemble.
Mozart's flute quartet in D major was a glorious opener; it fizzed like champagne. Flautist Ileana Ruhemann gave a bubbly performance , ably assisted by Gina McCormack, violin, Yuko Inoue, viola and Benjamin Hughes, cello. The Adagio, the central movement, was played on pizzicato strings, giving the flute perfect support for one of Mozart's most sublime solos.
Debussy's "Clair de Lune" was a fine vehicle for harpist Gillian Tingay and flautist Ileana Ruhemann; there are many arrangements of this much-loved tune but it's hard to envisage a more suitable instrumentation with the harp's beautiful rippling and the flute's melancholy giving voice to the poem on which it's based.
The programme was well planned, offering a mix of familiar and less so compositions, two of which featured the quintet. "Five sonatas after Scarlatti" by Jean Fran?aix is a gem-every player took the chance to shine and the writing-a long way after Scarlatti!-is brilliant. The other was by Jean-Michel Damase, the programme's closing work. Damase's skill as a composer of film music was evident in this witty, technically brilliant piece.
Perhaps the most beautiful work was The Fantaisie for violin and harp by Saint-Saens, unusually actually written for this instrumentation. The two musicians gave a consummate performance, each exploiting the beauty of sound so relished by the composer.
This was a perfectly planned, superbly played concert for a Sunday afternoon.

Andrew Petch 14th April 2013