Reviews

(N.B. see the recordings page for complete CD reviews)

Ades's "Asyla" is hymned as a masterpiece, but "Altiplano", in many ways a more subtle concerto for orchestra, deserves the same classic status.
Roderic Dunnett - The Independent

...it's [Altiplano] as alluring as a modern-day "La Mer"
Roderic Dunnett - The Independent

Scarabino built the piece [Altiplano] towards its animated climax, kept the rippling inner voices in place and allowed the haunting close to make its full impact.
John Allison - The Times

Ewers used and evoked an interesting mixture of sounds. The ideas which provoked the composition [Two Pieces for Fifteen Players] were excellent.
Howard J Milner - Music & Musicians

Spaces ... filled with pleasant sounds
Paul Griffiths - The Times

an impressive piece [Dune I & II] ... strong and colourful
Anthony Payne - Daily Telegraph

I liked it, [Colours] it kept its improvisation within clearly perceived limits.
Paul Driver

...followed by Tim Ewers' not unimpressive Nine Tomorrows.
Paul Driver - Daily Telegraph

Blackheath Counterpoint ... clarity of orchestration and of ideas, beautifully shaped. It is purposeful and athletic. It appeals to the pro and the concertgoer and will stand up to repeated hearings. What more do you want!
Stanley Glasser - Classic FM

In a harmonic idiom reminiscent of Henze, Quadrivium also sounded melifluous...the material expanded powerfully towards the end, when the contrapuntal lines - flecked by increasingly impulsive marimba patterns - were pulled into strong chordal progressions over an insistent ostinato.
Richard Morrison - The Times

The jazz-inflected fanfares of Tim Ewers' ...blue, indigo, violet formed the concert's enlivening prelude.
Conrad Wilson - The Glasgow Herald

The strongest was Tim Ewers' Squaring the Circle, in which alternating slow and fast sections gradually converged on an eloquent, sustained melodic line for 'cello.
Robert Maycock - The Independent

Squaring the Circle ... surrounds passages of passionate 'cello cantilena, played with speaking vividness by Philip Norris, with warm watery sonorities for the other players. The marimba (sic) was bowed, the bass-clarinet squirmed and gurgled, until the sounds at last glowed together on a single shimmering note.
Raymond Monelle - The Guardian

...a dreamilly impressionistic piece [Squaring the Circle]
Michael Tumelty -The Glasgow Herald

It's [Following On] a beautiful work, contrasting lively passages with more reflective sections...
Robert Levett - International Record Review