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The most played composer in Christ Church's autumn concert series was Johann Sebastian Bach. As a devoted Bach lover, I was delighted (though hardly surprised): he wrote a vast number of works in general, and in particular a great many for the harpsichord and clavichord — the piano's ancestors — not to mention several splendid ones for string quartet, both of which feature heavily in Christ Church's programming.
Tied for second were Mozart and Ravel, both with four pieces each.
Based on the crowd's reaction, which, of course, are a bit subjective, but ultimately quantifiable inasmuch as one can count how many people got up to applause, or how long applauses were, the best liked recitals were, chronologically, those of Marie-Louise Taylor, Edward Lloyd, the Celloship of the String, the Blair / Mertens Duo, and Maria Stratigou.
To me, however, the concert that stood out was that of João Luís and Madeleine Brown; this saxo-piano combo impacted me for their modern, yet respectful, soulful take on the classics— it was Ravel, but with a twist, a hint of spice. I'm now going to contradict myself by saying that, generally, I prefer «respectful» takes on the classics. Classics are classic for a reason! But there's a method, a heart-soaked, intelligent method to how Luís reforms the classics that makes him not a musician, but a musical visionary.
It was a great 2025, overall. We had Gema Lu Cai, Pip Clarke, Edward Lloyd, the Amabile choir, and how about percussionist Harriet Kwong? That was such an original treat!
I honestly don't think 2026 can surpass the high marks left by 2025. I do hope I'm wrong, but if 2026 is as good, that's good enough for me!