Plainly conscious of the great heritage of the solo oboe, these two young, emergent artists bring into their playing a freshness, a zest that embraces that tradition while at the same time imbues contemporary work with the quality and feeling of the old.
Barber's playing has projection, space as well as, when needed, pace which is all complemented by an accompanist who has a delicate empathy and a watchful eye.
You then read the programme notes and see Southall studied under the likes of Vignobles and Varcoe: It certainly shows.
Through Finzi's Interlude and Britten (Temporal Variations) their journey brought in brother Edward Southall's False Lights, a mystical piece capturing the plight of sailors lured to their fate on the Cornish rocks by the wreckers' false lights, and the second performance of a work by Thomas Barber's brother, John.
Contemporary or traditional: Where's the dividing line, what's the difference? This duo blurs the edges, dismisses many of the hang-ups and proves that music is either good or bad. And in their case extremely good.
This concert was supported by The Countess of Munster Trust.
Reg Burnard
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