Concert archive

9th June - Sound the trumpet! - Crispian Steele-Perkins

Norwich Baroque was delighted to welcome probably the most well known name in the world of baroque brass playing, Crispian Steele-Perkins, to perform with us in Wymondham Abbey as part of the Wymondham Festival.
It was a huge privilege to have Crispian joining us for this concert. As well as being a true master of the natural trumpet he is a wonderful communicator and is a delight to have around. When he isnt playing he spends much of the time chuckling!

We have never heard a trumpet played as he played it.... a stunning, silvery, beautiful sound which blends so perfectly with a string ensemble. No brash modern brass edge to it. It was really an evening to remember. Director Jim O'Toole was particularly inspiring.... we are very lucky to have him.


Trumpet Sonata a 5 - Stradella (arr. Steele-Perkins)
Concerto Grosso Op.3 no.3 Hellendaal
"Introducing the natural trumpet" - with excerpts from Handel and Purcell
Overture and Airs from "The Indian Queen" - Purcell.
Concerto in 7 parts No.1 - Capel Bond
Concerto Grosso Op.6 no.4 - Handel
Concerto in 7 parts no 1 - Mudge

Eastern Daily Press Review:


Norwich Baroque and Crispian Steele-Perkins – Wymondham Abbey

A full Abbey thrilled to the sounds of Crispian Steele-Perkins’s variety of instruments on Saturday evening as he joined the ever-consistent Norwich Baroque.

Introducing the Natural Trumpet, excerpts from Purcell and Handel also included a short hosepipe concerto, hunting horn and notes so high from early instruments which seemed impossible.
And Crispian Steele-Perkins gave an almost self-effacing commentary on what he does with exquisite skill - play the trumpet.

His wonderfully clear tone in his own arrangement of the opening Stradella Sonata for trumpet was immediately displayed with seamless changes of rhythm and later there was another superb example of musicianship in English 18th Century composer Capel Bond’s Concerto in seven parts with the Norwich Baroque in darker mood.

Earlier the ensemble produced trademark warm, integrated tone in the Concerto Grosso No.3 by Hellendaal (for a time organist at St. Margaret’s Kings Lynn) with a Concertante sextet of great clarity. None of the rather harsher modern trumpet’s voice in music from Purcell’s Indian Queen before Norwich Baroque emphasised their quality, especially in the Fugue in Handel’s Concerto Grosso Op.6 no.4 followed by Richard Mudge’s Concerto in Seven parts. Here Crispian Steele-Perkins added high colour to the strings to conclude a most entertaining programme in every sense of the word.

Michael Drake