Once again, we were fortunate with the weather. The fourth recital of our Summer at Breinton series completed joyously with the sun shining and everyone smiling. The concert reminded us how incredibly wonderful it is to feel the glorious power, warmness, comfort, and excitement of live music. It binds people together despite social-distancing and the restrictions between household bubbles; of course, where there is music, there are people!

Coco and Yume Tomita performed a 30-minute programme jam-packed with precious short pieces. Enescu and Bartok yielded a mysterious and quirky gypsy feel and rhythm. Coco’s solo performance of Largo from Bach’s solo Sonata in C contained a wealth of divine melodies, gently penetrating through the audience and creating serenity. Such a contrast was Yume’s Amazing Grace Theme and Variations; it was jazzy and rhythmical, performed with virtuosity and momentum. There encore piece Limerock for Two Violins, played with total control and amazing articulation, was joyful, uplifting, and total fun. I found myself tapping my feet, and I know I was not the only one.

Huw Wiggin and Oliver Wass began their programme with Debussy’s Girl with the Flaxen Hair and Arabesque No. 1, capturing the audience immediately with the well-known melodies with heartfelt sounds. Every time I hear Huw, I am amazed by his skilful breath control, and today was no exception. The Adagio of Bach’s Sonata in G minor was seriously beautiful; the long-lasting sound, with no impurity and just a hint of sweetness, travelled straight through the garden, accompanied by the equally beautiful harp. Oliver’s solo, Spanish Dance, was full of life with stunning resonance, and I noticed Coco and Yume looking like they wanted to jump up and join him with their violins. What crossed the minds of our guests during Gershwin’s Summertime, I will never know, but it had a bittersweet feeling now that this unprecedented summer 2020 is nearing the end. Fantasie Brillante sur des airs de Carmen certainly showed off the skills of both performers, then Piazzolla’s Oblivion, total beauty lingering with a bit of sorrow, to conclude Summer at Breinton, at least, for now.