Hugely celebrated for their worldwide programme of concerts, television appearances and recording sessions, Sir James Galway and his American flautist wife, Lady Jeanne, were naturally given an enthusiastic welcome as they climbed on to the raised Cathedral platform, set against the arcaded Bell-Arundel screen, through which John Piper's sanctuary tapestry glowed magically – a fitting backdrop to such living legends of the musical world.
Accompanied by his responsive pianist, Michael McHale, Sir James set off enthusiastically with Francis Poulenc's melodic 20th century Flute Sonata, then moving on to some elegiac flute transcriptions of Debussy's En Bateau and the familiar Clair de L
une, transferred into the Cathedral space with artistic perfection. Having cheerfully expressed many anecdotes of his past and present, Sir James was soon connecting his flute even more directly with the cathedral atmosphere when he performed a Suite, composed by French organist/composer, Charles-Marie Widor, which, when merged with piano and cathedral resonance, seemed to form an organ-like sound.
Once the elegantly clad Lady Jeanne had willingly joined Sir James, the audience was now being introduced to a fascinating combination of flute, piano and opera. The Galways were transforming the engaging melody of Verdi's Rigoletto and Bizet's popular Carmen into music with a completely fresh personality – thanks to devoted flautist/composers. The concert end approached and Sir James – making frequent eye contact with lady Jeanne and all those present – was now ready to mould his Irish lineage with the remarkable dexterity and breath control of the acknowledged master of the flute. As the sound of the emotional ballad, Danny Boy, receded, we were instantly overwhelmed by an astonishing interpretation of Flight of the Bumble-Bee, which, as it hurtled round the Cathedral vaults, brought the Chichester Festivities to a grandstand finale!
John Wheatley
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