The Sunday Times

It’s not every performer who redesigns his or her own instrument, but Redgate has spent three years at the Royal Academy of Music working with a manufacturer on adapting the oboe to the demands — high notes, multiphonics (chords), glissandos — of 20th- and 21st-century composers. Roxburgh’s The Well Tempered Oboe (exceedingly well written!) and Finnissy’s Awaz-e Niyaz, given with different pianists, were commissioned to illustrate and thrive on this new technology: the Howarth-Redgate oboe. In Finnissy’s 55-minute, Persian-influenced meditation on “archetypal melodic fragments” — a hypnotic, eventually explosive unfolding — the new bass oboe known as the Lupophon is also, memorably, used.

—Paul Driver