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| rock chamber... stage set for Red Priest |
In case you didn’t know… Red Priest are an early music group with a huge amount of style, virtuosity and ingenuity. Whilst I’d heard of the group, I didn’t know this until I saw them in Skipton, 9th February 2016. The group (Piers Adams, Angela East, Adam Summerhayes and David Wright) were in town to perform their show ‘Handel in the Wind’, based on their album of the same name.
Whilst a good proportion of the performance was based around Suite from the Messiah (very cleverly arranged by cellist Angela East) – of the suite, I thought Siciliano Pedicuro the best – I actually preferred some of the other pieces. The final allegro from the Sonata in F major Op 2 No 4 was a real foot-tapping number. I also enjoyed David Wright’s improvisation around Prelude in B flat for harpsichord, leading into Largo and Passacaglia in G minor – a lovely cello and violin spotlight, followed by a sprightly Passacaglia featuring the violin-as-drum; a super display of the excellent musicianship on offer.
I thought the second half (even) stronger, especially the Recorder Sonata in B minor – which was much more of a trio, written for recorder, cello and harpsichord where each instrument can shine. Adam Summerhayes’ arrangement of Lascia Ch’Io Czardas was just superb. After an introduction setting the scene in wintry London c.1730, it started as a poignant conversation between violin and cello and developed into a whole-group lively fun-piece with a good dose of gypsy swagger.
Whilst a good proportion of the performance was based around Suite from the Messiah (very cleverly arranged by cellist Angela East) – of the suite, I thought Siciliano Pedicuro the best – I actually preferred some of the other pieces. The final allegro from the Sonata in F major Op 2 No 4 was a real foot-tapping number. I also enjoyed David Wright’s improvisation around Prelude in B flat for harpsichord, leading into Largo and Passacaglia in G minor – a lovely cello and violin spotlight, followed by a sprightly Passacaglia featuring the violin-as-drum; a super display of the excellent musicianship on offer.
I thought the second half (even) stronger, especially the Recorder Sonata in B minor – which was much more of a trio, written for recorder, cello and harpsichord where each instrument can shine. Adam Summerhayes’ arrangement of Lascia Ch’Io Czardas was just superb. After an introduction setting the scene in wintry London c.1730, it started as a poignant conversation between violin and cello and developed into a whole-group lively fun-piece with a good dose of gypsy swagger.
The Harmonious Blacksmith set and Zadok the Red Priest were very popular with the Town Hall crowd, and great applause rang out after the final Messiah section with Hallelujah.
Throughout, the level of musicianship – and acting, even – was very high. Moving in time to the music and with a few comic touches, the performance was really fun all the way through. I counted harpsichord, violin, cello, a whole range of recorders, with a touch of mandolin , harmonica, melodica, (aka the pianica, blow-organ, key harmonica, or melodyhorn) on stage – very multitalented!
They have lots of clips on their website as well as Youtube videos etc – plenty to discover!
Throughout, the level of musicianship – and acting, even – was very high. Moving in time to the music and with a few comic touches, the performance was really fun all the way through. I counted harpsichord, violin, cello, a whole range of recorders, with a touch of mandolin , harmonica, melodica, (aka the pianica, blow-organ, key harmonica, or melodyhorn) on stage – very multitalented!
They have lots of clips on their website as well as Youtube videos etc – plenty to discover!
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