'Three different movements, investigating the time-worlds we inhabit. The possibilities are endless, but Harvey skilfully contains himself to just three scenarios utilising two conductors, with the players not necessarily following the same conductor throughout each piece… This was without doubt one of the most important and memorable premières in Britain this year.'
The Classical Source (Nick Breckenfield), October 2002
'The first timepiece projects fragments of violent music over a serene foundation of string harmonics. The second builds from a delicate tapestry of percussion to a rhythmic explosion for full orchestra. It's the strongest possible contrast with the final movement, which creates slow swells of sound in an ebb and flow of interweaving crescendos. Yet for all its impressive technical armoury, Timepieces is no abstract exercise.
Harvey's writing, with its oppositions of textures and time-scales, is sensuous stuff... each layer was keenly characterised and expertly balanced.'
The Guardian (Tom Service), 12 October 2001
The Classical Source (Nick Breckenfield), October 2002
'The first timepiece projects fragments of violent music over a serene foundation of string harmonics. The second builds from a delicate tapestry of percussion to a rhythmic explosion for full orchestra. It's the strongest possible contrast with the final movement, which creates slow swells of sound in an ebb and flow of interweaving crescendos. Yet for all its impressive technical armoury, Timepieces is no abstract exercise.
Harvey's writing, with its oppositions of textures and time-scales, is sensuous stuff... each layer was keenly characterised and expertly balanced.'
The Guardian (Tom Service), 12 October 2001