‘…bound together by a curiously archaic-sounding passage for three clarinets, which underpins all that follows, transforming itself along the way. In the new Palimpsest the binding element is binary – violent, abrupt brass chords cutting across sustained translucent writing for high woodwind and strings – and the music that results is far more discursive and varied. There are some ravishingly imaginative ideas, a lonely horn solo over rustling percussion one of the most remarkable and the musical voice is totally distinct – as if an element of Sibelius had been integrated with the modernist tradition that Benjamin sustains so unswervingly.’
The Guardian (Andrew Clements), 7 October 2002
‘There is an ancient and religious tone to the chorale-like base material, and what happens to it seems to tell us something about the corruption of innocence or even of the flesh. Each piece rises through squirming counterpoint to a brass climax of tragic grandeur. Gripping and lucid, this is marvellous and disturbing music.’
The Evening Standard (Brian Hunt), 7 October 2002
‘Benjamin has created an absorbing addition to the symphonic repertoire. The new work picks up the themes of structural, textural and motivic overlay suggested in its prototype – on a bigger scale and in weightier language, with tensile strings vying with volcanic brass in a quasi-Sibelian undertow of argument and suggestion, but with a Ravel-like gift for ravishing the ear with every note.’
Financial Times (Andrew Clark), 8 October 2002
‘…music of immense subtlety and fascination.’
Daily Telegraph (Ivan Hewett), 24 July 2004
‘…teasing and surprising play of motifs, volcanic mood swings and timbres both fastidious and bizarre…’
The Guardian (Andrew Clements), 7 October 2002
‘There is an ancient and religious tone to the chorale-like base material, and what happens to it seems to tell us something about the corruption of innocence or even of the flesh. Each piece rises through squirming counterpoint to a brass climax of tragic grandeur. Gripping and lucid, this is marvellous and disturbing music.’
The Evening Standard (Brian Hunt), 7 October 2002
‘Benjamin has created an absorbing addition to the symphonic repertoire. The new work picks up the themes of structural, textural and motivic overlay suggested in its prototype – on a bigger scale and in weightier language, with tensile strings vying with volcanic brass in a quasi-Sibelian undertow of argument and suggestion, but with a Ravel-like gift for ravishing the ear with every note.’
Financial Times (Andrew Clark), 8 October 2002
‘…music of immense subtlety and fascination.’
Daily Telegraph (Ivan Hewett), 24 July 2004
‘…teasing and surprising play of motifs, volcanic mood swings and timbres both fastidious and bizarre…’
The Times (Geoff Brown), 26 July 2004
‘…has the stark, almost painful clarity of a movie set at night. It begins with a comforting murmur of clarinets, slowly ravelling into three separate but similar sounds until the quiet is cut by a single, savage stroke of brass …does not have a dull or superfluous moment.’
Newsday (New York) (Justin Davidson), 15 March 2000
‘…enthralling exercises in the operation of musical intelligence through dramatic sound…the performances blazed.’
The Boston Globe (Richard Dyer), 23 July 2003