Fibonacci, aka. Leonardo
of Pisa (1170-1230), was a mathematician.
The sequence of numbers which bears
his name has fascinated scientists for
centuries. The essential principle of
Fibonacci’s sequence is that each new
number is the sum of the preceding two
(e.g. 1, 1, 2, 3, 5, 8, 13, 21 …). Since
this disc arrived, I have been pondering
the relevance of this to music and have
yet to come up with anything better
than the possibility of the whole being
more than the sum of its parts. But
no matter, "The Fibonacci sequence"
is a rather splendid name for a talented
group of chamber musicians who were
resident at Kingston University for
eight years. On this disc, they are
joined by harpist Gillian Tingay for
a varied and attractive programme. She
studied with Marisa Robles and is currently
Professor of Harp at the Yehudi Menuhin
School.
Ippolitov-Ivanov’s
An Evening in Georgia is
a delightful work for the harp and four
woodwinds lasting about seven minutes.
After a long and quite tantalizing introduction
on the harp, the oboe enters with a
slow and moving melody that leaves no
doubt which Georgia the evening is being
spent in ... and we’re not talking Atlanta
here. The clarinet takes us into to
a faster section reminiscent of Borodin
before the oboe gets a reprise and the
evening ends in perfect harmony among
the instruments.
Saint-Saëns’
Fantaisie is for violin and harp
and was written for the Eisler sisters
in 1907. An extended work playing for
over 13 minutes, it is quite characteristic
of the composer.
Dussek’s Sonata
is for violin, cello and harp and in
three movements with a central andantino.
The booklet tells us that Gillian Tingay
regards this as one of the main pieces
in the harp repertoire. The harp tends
to lead but at times the violin combines
as an equal partner. The cello plays
the accompanying role. This is pleasant
listening, very much in the same vein
of the composer’s solo music for harp.
Der Zweifel
is for the same combination
of instruments as the Dussek but Glinka’s
sound world is much more romantic. The
booklet omits to tell us anything about
the work, not even the English meaning
of the title (which translates as "The
Doubt"). There is a certain ambiguity
of mood about this short piece, overall
it is rather wistful and the role of
the harp is purely an accompanying one.
Bax’s Elegiac Trio
was written in 1916 in the wake
of the Irish Easter uprising. The same
combination of instruments (flute, viola
and harp) was used by Debussy in a Sonata
written one year previously but this
seems to have been coincidence. Although
there is an elegiac element in this
work, it is not overpowering and feelings
of hope also seem to be present.
Ravel’s Introduction
and Allegro for flute, clarinet,
harp and string quartet of 1905 is much
the best known work here and provides
a splendid conclusion to the programme.
I enjoyed the playing
throughout this disc. Gillian Tingay
plays most sensitively and her instrument
makes a gorgeous sound. The members
of the Fibonacci sequence invariably
combine well and sound as if they are
enjoying themselves. Comparisons with
Mobius in the Bax (Naxos 8.554507) and
the Melos Ensemble with Osian Ellis
in their classic 1962 rendition of the
Ravel revealed that the Fibonacci sequence
tend to take their time in both works.
This seems more advantageous in the
Bax than the Ravel but in both works
they create just the right atmosphere.
In this they are helped by a stunning
recording, beautifully balanced and
with the perfect ambience. The documentation
is generally satisfactory and largely
based on an interview with Gillian Tingay
covering the works on the disc. However,
the print at the back containing essential
information about the programme is too
small.
Here, the whole certainly
is more than the sum of the parts. Attractive
music, very well-played and superbly
recorded, this disc is a winner.
Patrick C Waller
Gillian Tingay (harp) 
for
details 
