The Herald 31st October 2003 Castle Acoustic made for memorable TBS concert. Owen Morse-Brown (recorders), Patxi del Amo (viola da gamba), and Arngeir Hauksson (theorbo and baroque guitar) are the trio of highly talented musicians called Sociall Musick who entertained an appreciative audience in the Great Hall of Farnham Castle on October 24. Farnham is fortunate to have a building such as the castle, but to hear early music to the standard of such performers is a thrilling experience. The concert opened strikingly with trumpet tunes played on the recorder, emanating from the gallery of the hall, therefore out of sight. This was the beginning of a concert of music in the Italian style, which took hold of English concert places from around 1670. In the hall of this ancient building, with such excellent acoustics, this was a memorable musical event for all present. Sociall Musick were finalists in this year's York Early Music Festival and have been receiving very favourable reviews of their performances around the country. Members of the Tilford Bach Society enjoyed an outstanding performance of works by, among others, Dieupart, Matteis, Poole and, most importantly, Corelli, whose 350th anniversary has been celebrated throughout this year's TBS programme. Review by Andrew Benson-Wilson published in Early Music Review September 2003 Issue 93 Early Music Network International Young Artists Competition 2003 Sociall Musick (Owen Morse-Brown recorders, Arngeir Hauksson theorbo/guitar. Patxi del Amo viola da gamba) gave a concert of Italian-style music for the final (The Italian Taste Prevailes), and English (Musick to Various Intents) for the preliminary concert. Their professionalism showed itself in a number of ways, not least their very careful tuning (done in a way that sounded pleasing to the audience), well presented introductions to the pieces, good stage presentation and well-written programme notes. They played very well as a consort, with no instrument dominating. The supporting continuo players were always sensitive to the solo recorder line, and both demonstrated beautifully expressive playing. The recorder playing was clean, crisp and articulate with a delicacy and refinement and excellent control of breathing and intonation that allowed the music to speak through. In Corelli's Sonata in F (Op 5/4), the contrasting moods of the different movements were well-defined, the faster movements being virtuosic without being showy. Their selection from Playford's Dancing Master was preceded by a sung catch 'Hey Ho', an excellent contrast to the otherwise instrumental programme and one that worked very well. Their careful controlled acceleration at the end of their final piece was a nice touch.