...The music began in the dark, audience seated around a low stage, and over the next 50 hushed minutes lighting designer Kai Fischer did sensitive, simple things to illuminate marvellous corners of paintwork or just the two women and their music. The big coup repertoire-wise was a commission by Judith Weir called Night, which muses gently if underwhelmingly on the physicality of soft sounds: fingers on wood, bow on string. The concert ended with Martin Suckling’s Nocturne — a brief, finely-crafted piece in which lines unwind in sinewy unison until the violin drifts off as if in a dream. In between we heard the Annunciation from Biber’s Mystery Sonatas, a canon from Bach’s The Art of Fugue, a Schnittke miniature called Stille Musik and a lyrical, restive cello elegy called Gala Water by Sally Beamish. Cromarty and Rickards performed with nuance and composure, both unshowy and deeply musical players.
— Kate Molleson