Press & Media

Donal Hurley from Edinburgh Music Review reviews: Fridays at One at RCS

“The thrilling third movement’s fiendishly difficult polyrhythmic piano part was stunningly precise, offset by some lovely cantabile lyricism from the…

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Ben Lunn for the Morning Star reviews: Fridays at One at RCS

“Red Note Ensemble, have been a solid champion of Scotland’s composers, managing to make space for growing talents and bigger…

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David Kettle from the Scotsman Reviews: FLOCK (as part of soundfestival 2023)

FLOCK packed in charm, delight and a nicely developing exploration of birdsong and flight.

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Liam Cagney from Gramophone reviews: James Dillon’s ‘Emblemata: Carnival’ & ‘Tanz/haus’

“All gratitude to Red Note Ensemble who, in high-definition audio, perform (James Dillon’s) commissioned works with razor precision” 

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Seth Colter Walls from the New York Times reviews: James Dillon: ‘Tanz/haus: triptych’

“The first movement alone shows Dillon’s penchant for drama and finely judged blends. […] European complexity? American Minimalism? The categories aren’t…

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Hugh Morris from The Guardian Reviews: hcmf 2021

Red Note Ensemble review – manic intensity and the altar of flow. Through the 40-minute work, members of Red Note…

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David Kettle from the Scotsman Reports: sub mari. 2021

sub mari:the music project that grew out of an avocado. Ahead of COP26, a multimedia performance devised by the Red Note Ensemble will bring together artists from Scotland and Chile to send an urgent message about climate change.

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David Kettle from The Scotsman reviews: unbound sound June 2021

With three world premieres from the Red Note Ensemble – on cracking form – it was most in the audience’s first experience of live music for several months, and there was expectation in the air.

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Keith Bruce from The Herald reviews: Eight Songs for a Mad King

There was surely far too much good work in this staging of a fifty-year-old masterpiece for it to remain a one-off.

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VoxCarnyx reviews Sound Festival 2020

Ben Lunn’s profound Th’forst munth is th’wurst iv awl, a contemporary spoken-word oratorio in which the composer conducted a trio from the Red Note Ensemble and narrator Tayo Aluko appeared on screen above the musicians. The three players, flautist Richard Craig, Jessica Beeston on viola and guitarist Sasha Savaloni, also had to turn their skills to intricate percussion as well as being experts on their own instruments. Lunn’s work is beautifully structured: nine movements in three groups of three, with an Overture and two Electronic Interludes, and it builds its smaller elements into an impressive edifice.

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