General:

“Especially original, though, was Hesketh’s control of the relaxation process, which leads to the final reprise-like section. Rather than dissolving completely, as one expects, the thinned-out woodwind motifs, especially on mellow bass clarinet and bassoon, revive and challenge expectation in their renewal of energy and restoration of the fuller density of the start. The very ending is magical: from the tingling percussion a sustained flute note emerges, dovetailed into violin, and is cut off by a single triangle ping. As a whole the piece communicated, moved and thrilled; and one sensed a composer who both has something to say and the means to say it.”
- TEMPO (Malcolm Miller)

“The young Liverpool-born composer (Kenneth Hesketh) has already made his mark in America and Germany, and on this evidence it is easy to see why.”
- DAILY TELEGRAPH (David Fanning)

“Hesketh has a fabulous ear for detail, the textures often contrapuntally dense and complex, yet with a transparency and clarity that draws you into his sound world.”
- SEEN & HEARD (Christopher Thomas)

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