'Brahms' reviews

'Adès describes his setting as an ‘anti-homage’. The vocal writing is positively operatic in its range, while the orchestra pillages Brahms’ music, especially the Fourth Symphony, and fastens mercilessly onto its typical devices - the sequenced phrases, the chains of falling thirds, the whipped up rhetoric; it’s profoundly subversive, and very, very clever.'
The Guardian (Andrew Clements), 2 July 2001

'The Adès, best of the lot, is a witty response to already witty words about the ghost of Brahms, and the spectre of the composer is summoned up in the warmth of Adès’ orchestra. This ingenious deconstruction of Brahms leaves the ear with fleeting impressions of the great composer, only to move on swiftly every time to a piece of musical imagery suggested in the poem.'
The Times (John Allison), 3 July 2001

' … Its teasing mixture of sly reminiscence and allusion is more subversive than its modest dimensions might suggest.'
The Guardian (Andrew Clements), 27 February 2004

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