At a mere 23, Ventris showed the composure of someone twice her age. She threw off dazzling sparks from Hindemith’s electric second movement, followed that with a rich, velvety line in the slow movement, before plunging apparently nerveless into the raging torrents that follow. It was a kaleidoscopic display.
This unruffled calm continued into Schubert’s ‘Arpeggione’ sonata, a persuasive argument for her instrument over the customary cello. Her soulful opening was balanced by an intoxicating web of autumnal currents in the Hungarian-style finale.