The quality of musicianship was quite outstanding, both in the ensemble playing and the individual performance. Each performer showed not only technical mastery, but musical sensitivity and infectious spirit and enthusiasm. The short but informative and entertaining introductions by different players achieved excellent communication with the audience, and the programming was delightfully varied, allowing each instrument and the voice to be shown at their best. Linda Perillo's lovely pure voice, Layil Barr's virtuosity and musicality on the recorder, Timothy Kreamer's splendid cello playing and David Wright's spirited and dashing solo on the harpsichord combine to create a perfect treat. I would recommend this group to any promoter as an assured success, and I'm certain it has a bright future.

CONTRASTING PASSIONS FROM THE GARDENS
Music from the pleasure gardens, King of Hearts, Norwich

The Cuckoo, a song by the Norwich born composer Jamse Hook, was just right for this recital of music largely connected with the pleasure gardens.
They were an attractive feature of social life in the 18^th century in the provinces as well as London, with performances that were tuneful and easy on the ear while offering chances to display vocal and instrumental prowess.
So soprano Linda Perillo found her brightest tone, and with her high pitched descant recorder chirping and trilling like a bird giving voice to its delight, Layil Barr added colour and a touch of humour.
She turned to the rather mellower treble recorder to accompany the singer in a cantata by Johann Pepusch. It was, as the title put it, all about Love's Soft Passion. With short recitatives creating opportunities for a little drama, the two arias painted contrasting passions.
David Wright, the harpsichordist of the ensemble Alcina, had his solo spot in a transcription that William Babel made of Handel's own improvisations on a theme from his popular opera Rinaldo. It was an impressive display of keyboard skills.
Timothy Kreamer was able to show his quality and the tone of his 1701 English instrument because the prolific George Telemann wrote a more interesting part for the cello than the usual continuo line for the aria Hope is my Consolation.
The performance gave all the more pleasure because of the lively rapport between the musicians.
The programme concluded with Thomas Arne's Under the Greenwood Tree, with piping notes on the agile sopranino recorder.