‘…an iridescent, unsettling, strangely beautiful score.’
The Observer (Andrew Porter), 25 July 1993
‘…perhaps the most impressive, motivated handling of orchestral forces in an output which has always demonstrated an extraordinary control of large forms. And the most telling of its time-tricks is that it compacts such a fecundity of ideas into a duration that, you are astonished to discover, barely exceeds 15 minutes. It feels twice as long; and I don’t say that as criticism. Merely, as a tribute to the substance, depth and technical accomplishment of an outstanding score.’
The Independent on Sunday (Michael White), 25 July 1993
‘…plays games with tempo and irregular pulse in a sound-world that is pure Benjamin: translucence, kaleidoscopic colouring and an almost pointillist approach to presenting his ideas…an authoritative exploration of this fascinating score.’
The Daily Telegraph (Matthew Rye), 10 June 2003
The Observer (Andrew Porter), 25 July 1993
‘…perhaps the most impressive, motivated handling of orchestral forces in an output which has always demonstrated an extraordinary control of large forms. And the most telling of its time-tricks is that it compacts such a fecundity of ideas into a duration that, you are astonished to discover, barely exceeds 15 minutes. It feels twice as long; and I don’t say that as criticism. Merely, as a tribute to the substance, depth and technical accomplishment of an outstanding score.’
The Independent on Sunday (Michael White), 25 July 1993
‘…plays games with tempo and irregular pulse in a sound-world that is pure Benjamin: translucence, kaleidoscopic colouring and an almost pointillist approach to presenting his ideas…an authoritative exploration of this fascinating score.’
The Daily Telegraph (Matthew Rye), 10 June 2003