Errollyn’s music is both immediately familiar and entirely original. She combines popular styles, aspects of minimalism, baroque counterpoint, modernist rhythms, and lush romantic textures and draws on influences around her. Many of the works on this album have personal associations and are written for long-standing musical collaborators and friends who appear on this recording.
The Cello Concerto combines passion and beauty with a fearless, rigorous technique. It fuses the cello tradition of Bach to Britten with bluesy ostinatos, angular modernist jolts and an immersive string texture. Bach is also the influence in the 4-movement work Photography, with the second movement quoting Sinfonia No.14 (BWV 800).
If Bach provides one of the mainstays of Errollyn’s kaleidoscopic idiom, the other most obvious one is Purcell. The final track In Earth eerily adapts and distorts Dido's famous lament, using popular music delivery with Errollyn on vocals and jazz musician Tim Harries on bass guitar, accompanied by Quartet X
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Reviews
'So full-blooded, dramatic and supple is soloist Matthew Sharp's playing that it captures the attention right through to the end of the likeable, English pastoral-tinged work'
The Strad
'Her music has an attractive plain-speak and a fun, broad palette ... lovingly performed by The Continuum Ensemble
Gramophone magazine
"Cello Concerto rising and hovering like a lark ascending ... snippets of Bachian figuration, Britten-ish pizzicato, Tippett-like bluesyness, all come together in the richly expressive playing of Matthew Sharp"
BBC Music Magazine
"Gritty, free-wheeling, exuberant ... a freshness I found very persuasive"
BBC Radio 3 Record Review
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