What the press say...

Thomas Ades interview from the Guardian 26/02/07
At 19 he wowed the critics with his first symphony; now, at 35, he is one of the world's leading composers. In a rare interview, Thomas Adès talks to Tom Service in Berlin. Read Article

Thomas Ades interview from The Daily Telegraph 01/03/07
Thomas Adès talks to Peter Culshaw about his thrilling new work and about the burden of being seen as the saviour of English music
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Thomas Ades interview from The Times 02/03/07
To some, Thomas Adès is the most brilliant composer of his generation, while others find his work baffling. A new festival seeks to unravel the mystery, reports Neil Fisher
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The Guardian
When Thomas Ades wrote 'America: A Prophecy' in 1999, its setting of Mayan and Spanish texts about genocidal war and the tumbling of cities meant only what they said. It was a powerful work about the nightmares that lie at the roots of our civilisation. Ades is one of the most interesting of youngish British composers because he will appropriate stuff without a moment's hesitation ' Ades - and his light-fingeredness is always the launch pad for something more interesting.'
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Daily Telegraph
'It is the completeness of Adès's gifts as a pianist, composer and conductor which is so spell-binding... Adès's conducting is always informed by his marvellously intelligent composing mind, and it makes for performances of fascinating clarity and dancing energy. When it came to his own Violin Concerto, which was receiving its UK premiere, Adès the conductor was of course absolutely in his element...
Much of the pleasure of Adès's music comes from its riskiness. He litters the music with fistfuls of ordinary major chords, and manages to make them sound richly strange. He pits the tiny sound of the soloist playing pizzicato against a noisy brass section, and makes it work. Read more

'As his first new work since re-creating The Tempest as an opera, Thomas Ades's Violin Concerto was eagerly awaited -by no one more, it would seem, than its soloist, Anthony Marwood, sitting by his fax machine in anticipation of the final pages...
Adès gives the work a subtitle, "Concentric Paths", and suggests, in his very short note, that the circlings are those of harmony. The first movement, he says, is "fast, with sheets of unstable harmony in different orbits; the third playful, at ease, with stable cycles moving in harmony at different rates." The Times

'Adès, Great Britain's impossibly gifted young composer / conductor / pianist, took Los Angeles by storm quite literally with excerpts from his recent opera, The Tempest, along with much else in his month-long residency with the Los Angeles Philharmonic.' Los Angeles Times

'He has outgrown his status as the wunderkind of a vibrant British scene and become one of the most imposing figures in contemporary music.' The New Yorker