JOE CONWAY: ‘Kate acknowledged the applause gracefully, sat down with her cello purposefully, tuned, and launched into a thoughtful and glowing account of Bach’s G major Suite.’

JOE CONWAY : ‘Throughout the concerto Arisa Fujita had held the audience spell-bound, especially in the two cadenzas, when you really could have heard the proverbial pin drop.’

JOE CONWAY : ‘A stray sunbeam drifted down through the skylight gilding her violin. Catherine’s eyes glanced heavenwards and the sublime semiquavers got underway.’

JOE CONWAY: ‘The characters played out their desires and deceptions in a dramatic form that approaches perfection and a score by Mozart that goes beyond it.’

JOE CONWAY : ‘Wind orchestra players have their own repertoire, their own culture, and their own attitude. Which is basically that they make music primarily for their own edification and delight.’

JOE CONWAY : ‘Most concert-goers recognise passion and commitment when they see it, but this performance took things to the next level.’

JOE CONWAY : ‘Just looking around at the players’ evident enjoyment of these great tunes should make one reluctant to add to the snobby criticisms that have always been levelled at Tchaikovsky.’

JOE CONWAY : ‘The powers-that-be had decided to do without an overture or curtain-raiser and the Steinway grand was ready with its lid up, a bit like a lion with its jaws open.’

JOE CONWAY : ‘Unfortunately, for many musicians nowadays Sibelius is first and foremost a music-writing computer programme rather than a revered 20th century Finnish composer.’

JOE CONWAY: ‘My guess is that Ruth Palmer would never play this concerto – or possibly anything else – the same way twice. But then why should she?’