It was a treasure-packed evening of sublime music by violist Timothy Ridout and pianist Jâms Coleman – the moment we were waiting after more than two years. At last, Soirées at Breinton re-commenced in its original form.

Throughout the concert, which consisted of very two contrasting halves, the duo succeeded in showcasing a skillful maneuver of weaving every note beautifully and incessant tossing phrases back and forth.  As we listened, everything we had loved about the Breinton experience in this salon-style setting came flooding back; this utmost feeling of being in a cocoon and almost drowning in the glorious sounds. In this atmosphere, where we could hear a needle drop, we appreciated the full range of style and volume, from the light and joyous Beethoven, the bold, unstoppable go-for-it sound-making in Stravinsky, to the out-of-this-world darkness of Shostakovich. We all held our breath when the long drawing of the last note, barely audible but fixating everyone’s full focus, disappeared in unspeakable silence, seeping deep into the evening.