Chris Williams floated after Byrd, ending iridescently…Bach and Stravinsky weren’t bad either‘ – Peter McCallum (SMH)

‘…a lovely shade of wistful.‘ – Peter Dobrin (The Philadelphia Inquirer)

‘ …somewhere between the ether and ecstasy. It grew denser and more complex… a stunning piece.’ – Rob Kennedy (CityNews)

…an enchanting and haunting work which features slow melodic recitational figures that are beautifully spun into a complex tapestry of intertwining lines …it’s own sombre majesty‘ – Alex Raineri (loudmouth)

Chris Williams has composed some brilliantly unsettling music‘ – Ben Neutze (Daily Review)

Composer Chris Williams’ wall-to-wall underscore contributes strongly to the densely spooky mood‘ – Jason Blake (SMH)

underscored by dark, throbbing music by Chris Williams‘ – John McCallum (The Australian)

It’s magnetically tense and discomforting…the action driven by an unrelenting, low-end warble courtesy of composer Chris Williams‘ – Chris Hook (The Daily Telegraph)

A stirring soundscape‘ – Martin Portus (Stage Whispers)

Chris Williams’ music and Nate Edmondson’s sound design hold us firmly in their dictatorial insistence for dramatic tension’ – Suzy Goes See

… There is a refreshing vitality and aural acuity in Chris Williams’s Two Episodes. The first, sub-titled Constellation, is a rapid, scintillating moto perpetuo, while the ruminative Rubric, beginning and ending in the bass register, frequently employs minor seconds and, particularly, major sevenths, reminiscent of the Bartók piece of that name from Mikrokosmos. In the central section, the music rises in pitch and intensity, thus making an impressive arc-like structure overall.’ – David Bollard,

… between meditative passages and operatically anxious or ecstatic moments for soprano and baritone. It opens with multiple triangles and is later textured with clapping and whistling; soprano and cello merge; the vibraphone is lyrical; the singing angular. The “Om” ending floats over the tinkling of triangles and a slightly unsettling soft cello discordance that suggests complexity rather than simple resolution’ – Keith Gallasch,

…the Philharmonia Voices singers were arrayed right around the upper galleries of the magnificent St James’s space to exploit Williams’ brilliant echoes and crescendos…’
– Aidan Oliver,

Chris Williams’ Canto Fiato is particularly effective. It highlights the interplay between recorder and viola whilst the marimba supports with a more rhythmic role, especially in the second movement. The final movement is perhaps the most melodious track on the album. Overall this work is much gentler and exploits the lyrical qualities of the recorder.’ – Brad Slater,

Dramatic and exciting, the work contrasts the rhythmic nature of untuned percussion with the melodious vibraphone. It immediately captured and retained the audience’s attention until the final, suspenseful taps’ – Kimberley Pearson,

distinct and impressively effective use of piano resonance and french horn… progressing through a series of movements that forged moody and diverse ideas together into a convincing whole’ Paul Castles, Arts Hub

Williams made effective use of the timbral capabilities of the instruments, using piano resonance and percussive playing, string harmonics and natural horn tuning to create a sense of other-worldly fragility’ Fiona Berry,

Next came a piece called You in the Night by another NSW resident, Chris Williams, using only the three male voices of The Song Company … characterised by plenty of vigor and interesting interplay amongst the vocal lines.’ – David Gyger, Opera Opera Magazine

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