For the second of four concerts at UKARIA this weekend, curator James Crabb had planned a post-lunchtime visit to the 18th century. The programme was arranged like a musical double-decker sandwich, with Bach on the outside, two layers of Scarlatti, and a pair of antique arias flourishing in the centre. Though lighter fare than the succulent Piazzola which was offered by the preceding night’s concert, each Baroque delicacy was a near-perfect dish.

Two Bach cello suites bookended the afternoon, one in original form and the last in an arrangement for guitar. Cellist Julian Smiles, of Goldner String Quartet fame, opened proceedings with his rendition of the Suite No 2 in D Minor. The sound he charmed from his 1827 Lorenzo Ventapane instrument was as close to silver-toned as a cello gets, with nevertheless a soft husky resonance to the lower notes. His confident playing ensured every phrase was delicately shaped, and directed with gentle touches into a pacing full of organic ebb and flow.

This gentleness did have somewhat of a knock-on effect in the Gigue, which lacked a little vitality in the opening. But overall, Smiles’ interpretation was both pure and tender – a delicious start to the afternoon.

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