"...dazzlingly good chamber ensemble…
exuberantly expressive, intimate style…
gorgeously idiomatic playing’
The Times
Wesmorland Gazette

One of the UK’s most distinguished chamber groups recently graced the Town Hall’s stage as a guest of the Kendal Midday Concert Club. The Fibonacci Sequence were represented on this occasion by the pianist, Kathron Strurrock, the violinist, Daniel Pioro and the horn player, Stephen Stirling. These three widely-travelled and experienced musicians, each eminent in their particular specialism, came together to present an attractive programme of works by Beethoven (Sonata in F, Op.17 for horn and piano), Dvořák (Romance, Op.75 for violin and piano) and Lennox Berkeley (Trio, Op.44 for violin, horn and piano).
The combination of French horn and piano can present a variety of awkward challenges. The tonal qualities of the two instruments are as poles asunder and so, not infrequently, searching questions relating to balance will arise, because the horn can easily dominate the piano. Suffice it to say Stephen Stirling never committed that sin! He and his ever-sensitive pianist blended beautifully in every sphere, be they in virtuosic, or in more reflective, expressive modes. Their control in matters of dynamics, phrasing and rhythmic vitality, was truly impressive.
In many ways the violin synthesizes with the piano much more readily. Daniel Pioro brought sweet-toned, beautifully-shaped lines to his interpretation and, once again, he was exquisitely partnered by Kathron Sturrock. Their reading emphasised the romantic character of their subject and illuminated its melodic charm.
The seismic shift into the mid-twentieth century necessitated a dramatic realignment of the senses for all concerned – players and audience! Lennox Berkeley’s powerful Trio demands, and indeed, did receive, virtuosity from the players, a high degree of musicianship and an ability to effectively communicate the multitude of ideas, the complexity of textures and the general geography of the work. I feel they succeeded in this, but perhaps the jury is out on whether the audience was fully receptive to their efforts.
The fourth movement from Brahms’s Trio Op. 40 served as an encore and sent everybody away smiling.
Brian Paynes.