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What is a lullaby? We have ideas and famous musical pieces to give this an answer. Yet, how to we continue to perceive this style and honour it with newer creations?

Here comes Tamsin Waley-Cohen on violin and Cordelia Williams on piano, to answer this question with considerable breadth. Arriving at the space, we heard gurgles of babies as sparkly lamps would suggest a night light for younger ones. Beginners was Spiegel I’m Spiegel by Arvo Pärt. Still going strong in his 90s, this is one of Pärt’s most cherished creations.

Tamsin captured the reverence and stoney stillness it demands, Cordelia on piano got the scales through and they can feel like a fine partnership. Brahms’ Wiegenlied is truly his most famous creation and one of the most recognisable works of music today. His lullaby is arranged here by both players, and an all-round sense of serene cheer comes over the stage. It might be considered easy to play, naturally I doubt this is true.

Dvořák and his Songs My Mother Taught Me, another fitting tribute. Filled with evocative Czech allure, again Tamsin brings her all, her sense of control over the violin. I grew up playing the same and found it a nightmare to really work at. Seeing her play is a reminder why you should keep going. A world premiere from Freya Waley-Cohen, sister to Tamsin, in a four-thousand-year-old Babaloyinan text. A mother comforts her baby who cries, this little piece was sweet and will see more outings, I’m sure. Scriabin’s Nocturne in F sharp was expectedly moody, the Russian composer often in a sensual realm of expressivity.

John Cage is a rare delight to hear live, and his own Nocturne was no different. Very folk like in writing, with many different techniques for Tamsin to try, as Cordelia gets further strange structures on the keys. The Lullaby by Schubert is curious, touching in its offering, yet slight. Hearing the full Fantasie in C was the big, meaty finale. Tamsin played with a passionate zeal, seeing swooping moments, with a rich, romantic fibre demanded of Schubert. Moments of dance, smiles and reflection all ring here. Cordelia is a fine, clear accomplice, you sense the warm connection between her and Tamsin. An encore of Schumann would lull us off into our day.