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26 November 2016
By Simon Cummings in 5:4 (UK), November 26, 2016

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“… a composition masterclass in its seamless, aurally non-hierarchical interaction between acoustic and electronic…”

Friday at HCMF began with a recital by rising star cellist Seth Parker Woods. I’ve had the opportunity to see Woods play once before (at HCMF 2014) and the experience was a highly impressive one, so I was very much looking forward to seeing him in action again. He did not disappoint, performing four challenging works, two of which involved live electronics. […] The unquestionable highlight of the concert, though, was Pierre Alexandre Tremblay’s asinglewordisnotenough3 (invariant), which provided both a composition masterclass in its seamless, aurally non-hierarchical interaction between acoustic and electronic, as well as a performance masterclass in its bravura display of frantic virtuosity from Woods. The work’s narrative was excellent, progressing through a series of evolving episodes each fuelled by the cello, many of them rhythmically taut (though never sounding metrically fixed) with a tendency later to expand out into more sustained soundscapes where the cello’s material was more buoyant. Utterly thrilling, and Woods unstoppable performance was outstanding. […]

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6 November 2016
By Alex Ross in WQXR (USA), November 6, 2016

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“This is music of enveloping mystery and enigmatic beauty.”

Jürg Frey belongs to the Wandelweiser group of composers, who tend to write slow, quiet, sparse music, interspersed with significant silences. Frey’s Third Quartet is to some extent a typical Wandelweiser creation, with dynamic markings that range from pp to ppppp. Less typical is the whispery voluptuousness of the harmony, which sometimes recalls Schreker or early Schoenberg. This is music of enveloping mystery and enigmatic beauty.

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1 November 2016
By Zdeněk Slabý in Unijazz (Czech Republic), November 1, 2016

Press Clipping

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