Sarah Gait
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Review: Kulturkreises Hösel
Programme"über die Alpen" (over the Alps)
3rd May 2026 with Robert Weinsheimer, Piano
Hösel. This concert, organised by the Hösel Cultural Society, was dedicated to the musical language of the late Romantic period. With a chamber music line-up – cello, played by the magnificent British cellist Sarah Gait, and grand piano, accompanied by the highly experienced pianist Robert Weinsheimer – the programme unfolded, demanding both lyrical intimacy and technically demanding brilliance.
The concert opened with Richard Strauss’s ‘Romanze’, a comparatively short work which nevertheless already revealed the cellist’s great artistry of expression. With a warm, resonant tone, she shaped the sweeping melodic lines, whilst the piano accompanist played with sensitivity and tact. At the heart of the first part of the programme, however, was Schubert’s Arpeggione Sonata, the unusual story behind whose creation is scarcely noticeable today – so natural does it seem within the cello repertoire. Historically, the arpeggione is referred to as a string or bowed guitar. In the first movement (‘Allegro moderato’), the duo impressed with their well-judged balance: the piano provided clear structural accents, whilst the cello shone with its supple phrasing. The ‘Adagio’ proved to be the emotional highlight – here the cellist produced an almost vocal (singing) tone, imbued with great tranquillity and depth. The concluding ‘Allegretto’ then restored a sense of lightness and dance-like elegance, with precise ensemble playing and subtle humour in the phrasing. After the interval, Schubert’s ‘Das Heimweh’ – in a version transcribed for cello and piano by Sarah Gait – created a wonderfully intimate, lieder-like atmosphere. Here, the cellist demonstrated her outstanding ability to capture the character of the human voice. The piano part remained deliberately restrained, allowing the cello plenty of scope to unfold its sound. This was followed by Richard Strauss’s extensive Cello Sonata in F major, Op. 6 – a work brimming with youthful energy and compositional depth. In the first movement (‘Allegro con brio’), the outstanding technical mastery of both musicians was particularly impressive: fast-paced passages and complex dialogues were mastered with precision and clear expression. The ‘Andante ma non troppo’ brought a lyrical contemplation, sustained by their delicate interplay – a musical dialogue between equals. Finally, in the finale (‘Allegro vivo’), the work’s energy erupted into a lively joy of performance and brilliant virtuosity.
The audience responded with equal enthusiasm: after the official programme, the applause seemed to go on forever and eventually turned into a standing ovation. As an encore, the cellist performed a piece she had composed herself, based on motifs and musical ideas from Schubert’s cello sonatas. This personal yet stylistically refined homage built a bridge back to the heart of the evening and impressively underlined the performer’s artistic excellence.
[translated from German]
https://www.lintorfer.eu/brilliantes-sonntagskonzert-in-hoesel/
"the cellist demonstrated her outstanding ability to capture the character of the human voice"
"Hier zeigte sich die herausragende Fähigkeit der Cellistin, den Charakter der menschlichen Stimme nachzuempfinden"
"the outstanding technical mastery of both musicians was particularly impressive"
"beeindruckte vor allem die herausragende technische Souveränität beider Musiker"
"Das Publikum reagierte entsprechend begeistert: Nach dem offiziellen Programm wollte der Applaus kaum enden und mündete schließlich in stehenden Ovationen"
"The audience responded with equal enthusiasm: ...the applause seemed to go on forever and eventually turned into a standing ovation"
"the cello filled the hall with warmth and heartfelt emotion"
"it was an absolute joy"
Review: Carlisle Music Society
with Simone Tavoni, Piano
2024-25 Season
20th March 2025 - Sarah Gait, cello and Simone Tavoni, piano
In the final concert of the season it was a delight to welcome back to the Fratry Hall our very own home-grown talent - Cumbrian cellist Sarah Gait, partnered with Italian-born pianist Simone Tavoni. It was very fitting that Sarah dedicated the concert to that great supporter and encourager of home-grown talent, the much-missed David Jones. Sarah and Simone have since spread their wings from their respective native homelands and taken to the world stage, both of them being award-winning performers in a number of concert halls and with various orchestras. Although throughout all this, Sarah has always retained a keen interest in promoting the cultural life of her own home county, and also involves herself with projects to promote classical music among young people. But tonight it was just the two of them together: cello and piano, in an intimate concert which gave us the opportunity to hear the full extent of the cello's own unique voice.
The concert opened with a flashing chord as the duo dived straight into Beethoven's cello sonata in G minor Op 5 No. 2. Emotive and dynamic, filled with moments ranging bfrom tender and fragile, to impassioned and excited, the cello filled the hall with warmth and heartfelt emotion, while the piano romped along brilliantly in accompaniment.
The second work stood in complete contrast, being Sarah's own composition, a work named Ilex, after the rare Ilex Sapiiformis which has been recently rediscovered in Brazil. The piece was commissioned last year by the Brazilian embassy, and it explores the theme of conservation in our damaged world. The Fratry hall was at once filled with the wild, exotic sounds of the rainforest, with delicate trilling as of bird calls. There was much use of sustained harmonics on the cello strings, and of the sostenuto pedal on the piano, punctuated by sudden splurges of sound and aggressive pizzicati on the cello which resonated with a woody sound. Sarah's compositions stem from her extensive improvisation work, and there was a freshness about this piece, which gave the impression of it having been newly created especially for us.
The second dedication of the evening was to Reinhold Gliere. This under-performed Ukrainian composer is being celebrated in Kyiv in his 150th anniversary year, but has rarely been heard in this country. He deserves to be better-known. It was wonderful to be given here the full set of his 12 Album Leaves Op 51. Combining lush romanticism,
lyricism, contrasts of beauty, passion, joy and melancholy, it gave the cello the perfect opportunity to show off its fine singing qualities.
The programme ended with a brilliant rendition of Shostakovich's sonata for cello and piano in D minor Op 40, with its driving rhythms, moments of intense stillness, wild and stormy passages, and all of it given with tremendous energy and virtuosity from both players.
Finally, we were generously treated to an encore – a lighter moment, Sarah's own fun and playful arrangement of Gershwin's song But Not for Me.
Over the course of the evening it felt as if we had met the full personality of the cello – at times wild and passionate, then tender, sometimes surprising, soulful, as well as fun- loving, singing like a mezzo-soprano – Sarah and Simone brought it all to us, and it was an absolute joy. David Jones would have been delighted to have had such a concert
dedicated to his memory.
Review by Carolyn Fyfe, 23rd March 2025