'… a lovely work wistful yearning elusive and full of atmosphere.'Central Western Daily (E.M.W.) 2 June 1976

Edward Greenfield writes '. . .chamber music writ large often abrasive in an almost Stravinskian way. . .the emotional weight is borne by the central slow movement. . . The finale is a brisk march interrupted at one point by horn fanfares in which the second of the two trios hauntingly brings scrunching cluster-chords pianissimo.Gramophone December 1992

Written for Melinda Maxwell and the Orchestra of St. John's Smith Square to commemorate the orchestra's twenty first anniversary. the happy surprise of his Little Concert. . . beneath the graceful long lines and jig-like spurts of a solo part expressly written for Melinda Maxwell Maw finds time and space enough to draw quite long-range implications from his basic motif of a semitone plus a major third and to insert some of his special densely poetic harmonies.Bayan Northcott The Independent 6 June 1988.Scored for Oboe solo two Horns two Violins Viola Cello and Double Bass.

'. . .It is a revelation to hear something of the composer's other side. The Viola Concerto featuring Rivka Golani is the real thing: post Walton heartfelt viola writing. . .'Sarah Pope CD Classics December 1992

A collection of eight engagingly quirky miniatures from 1997 Julian Anderson’s Poetry Nearing Silence was inspired by the work of artist Tom Phillips. The highly contrasted often bizarre juxtapositions of Phillips’s The Heart of a Humument – which sees him ‘treating’ an obscure late Victorian novel by selecting certain words and phrases and then painting over the rest of each page – are mirrored in vividly imagined music whose pithy energy creates a playful virtuoso tour de force for all seven instruments.

'A cleverly devised texturally fresh and engaging short essay. . .with its percussive tick-tocks extended melodies for a woodwind section including saxophone. . .'Paul Driver Financial Times June 1986

Prepared from the composer's original manuscript by the distinguished Mozart scholar Richard Maunder this is the first modern Urtext edition of Mozart's Vesperae solennes de confessore K339.

For Soprano and Orchestra. Andrew Clements says 'None of the four songs lasts more than a few minutes yet they pack in an astonishing range of emotional and vocal nuance. . .with wonderfully lucid colours drawn from a vast ensemble; each song seems to define its sound world within a couple of bars compressed into a phrase or a couple of chords. They are beautifully achieved little songs brought off with the lightest of touches'. Financial Times 10 March 1992