Press & Media

Morgan Carmichael from Glasgow Times on An Easterhouse Children’s Manifesto at Platform

“School pupils from the East End of Glasgow are gaining international recognition following a “fun” music project.”   

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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…


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” 


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…


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…


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.


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.


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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