‘… a fine and beautiful work. While the horn floats its arching melodies, a tapestry of nocturnal, dream-like sounds is spread across the orchestra on muted strings, mellow flugel horns, a throbbing harp, a keening flute and more flurries from the off-stage horns.'The Sunday Telegraph (Michael Kennedy), 29 April 2001
‘The offstage horns launch a scherzo of typically Matthewsian fleetness, marked by crepuscular string writing and vehement interjections by the horn, now centre stage and often using ‘natural’ intonation. The climax comes with dramatic volleys from the offstage horns, suddenly visible on a balcony. One was left with a sense of the horns, both soloist and ensemble, as a kind of romantic or atavistic force that had passed right through the sophisticated modern(ist) orchestra, aided and abetted by the conductor … Matthews’ statement has a power and elegance that are quite his own.'
The Sunday Times (Paul Driver), 29 April 2001