BREMF – BREMF EMERGING ARTISTS SHOWCASE

SUITE FANTASTIQUE EN TRIO – Les Acolytes
I always look forward to learning something from the young BREMF Emerging Artists. This year it occurred during the first few bars. Four people performing a trio meant that two were playing the same part – it’s just that I couldn’t easily tell any difference between the flute and the violin they were so precisely in unison, everything, tone, volume, phrasing. I could hear two distinct instruments and the blend was perfect, melded together – astonishing! The viola da gamba and the harpsichord completed this ensemble with similar sensitivity. Both Boismortier pieces and Leclair’s passepieds were quite jolly, bookending some rather dreamy works from the French Baroque repertoire which suited the theme of the festival, Bringer of Dreams. With their endearing mix of enthusiasm and musicality Les Acolytes delivered a very pleasing programme.

Les Acolytes

Les Acolytes:
Andrew Taheny – violin
Billy Hui – flute
Timothy Lin – viola da gamba
Edward Campbell-Rowntree – harpsichord

Programme:
Joseph Boismortier – Daphnis et Chloé Op. 102 Prologue: Ouverture
Gaspard Le Roux – Suite à 3 en ré majeur: Allemande grave ‘La Lorenzany’
François Couperin – Premier Concert Royal: Sarabande mesuré
Jean-Marie Leclair – Première récréation de musique Op. 6: Gavotte tendrement et passepieds
Boismortier – Daphnis et Chloé Op. 102 Acte Troisième: Chaconne

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SOMNUS, THE HUMBLE GOD – Vega Consort
Vega Consort met the Festival brief exactly with three songs on the nature of dreams and an exquisite ‘soporific’ prelude by Dowland. This was a very carefully curated programme, beautifully realised. Thow has a voice for Gothic vaults and he caressed the acoustic, supported intimately by the dependable lute. We were enticed into a delightful melancholic revery as the music worked its subtle magic.

Vega Consort

Vega Consort:
Alexander Thow – countertenor
Augustin Cornwall-Irving – lute

Programme:
William Lawes – Somnus, the humble god
John Dowland – Praeludium
John Danyel – Can dolefull notes (First part), No, let Chromatique tunes (Second part), Uncertaine certaine turnes (Third part)
Dowland – Sleep, wayward thoughts

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SOGNO ITALIANO – Themelion Ensemble
I was concerned that another ensemble with just a cello in place of the viola da gamba might be too much of a good thing, but I needn’t have worried. ‘Themelion’ means foundation and the greater interest was in the cello and harpsichord parts. Sarcuni and Paoletti played flawlessly over the eloquent and even impassioned lower instruments, Dell’Oro and Iurilli, who seemed to be conducting each other with their eyebrows. Their concentration was intense, as too was their enjoyment. This was infectious and carried over into the audience. The Italian Dream was well and truly delivered. Bravi!

Themelion Ensemble

Themelion Ensemble:
Filomena Sarcuni – violin
Francesco Paoletti – flute
David Dell’Oro – cello
Davide Iurilli – harpsichord

Programme:
George Frideric Handel – Trio Sonata in B minor Op. 2 No. 1
Jean-Marie Leclair – Trio Sonata in D minor Op. 4 No. 1

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WHAT DREMYD I THIS NYGHT – Bruegel Consort
There was excitement in the Bruegel Consort’s delivery of Taverner’s four part Kyrie, and it wasn’t just the impeccable tuning and perfect blend that held our attention. We felt a surge and urgency in this otherwise gentle, melismatic polyphony, as fits a plea for divine mercy. Indeed, Taverner’s music is otherworldly and perfectly set us up for what was to come.

Only three voices were needed for the doleful Benedicite what dremyd I this nyght. Doraly Gill’s strong alto was well matched by Angus Champion, a high tenor rather than falsetto, and Harry Elliot’s sustaining bass. Fayrfax’s long, rippling phrases were mesmerising (dreamy again, to suit the festival’s theme).

Soprano Lilly Vadaneaux returned for the main work, the Ave Dei Patris filia, her pure voice again floating blissfully over Gill and Champion. Eventually, their fifth singer, tenor Jack Stebbing, joined the men to sing up to a grand, sonorous Ave, when all the voices were singing together. It was a magical moment, the first landmark in this epic work. With such elaborate early Tudor polyphony, singing one voice to a part is risky but it was no challenge for these talented musicians. To make it sound so thrilling takes a rare combination of singers. Let’s hope that their busy schedules allow them to sing together regularly because I won’t be the only person in Brighton very happy to hear them again.

Bruegel Consort

Bruegel Consort:
Lilly Vadaneaux – soprano
Doraly Gill – alto
Angus Champion – tenor
Jack Stebbing – tenor
Harry Elliot – bass

Programme:
John Taverner – Kyrie ‘Le Roy’
Robert Fayrfax – Benedicite what dremyd I this nyght
Fayrfax – Ave Dei Patris filia

Andrew Connal
St Paul’s Church
10 October 2026