The Independent, September 2, 2013
By MICHAEL CHURCH
Midori had said in advance that she was “overwhelmed by the depth” of this new work dedicated to her, and her manic sawing and digging into the strings suggested that its action-packed 20 minutes would be a physical endurance test as well. Its first movement began as a multitude of fine threads, with Midori prima inter pares, and the musical jokes -beginning with a trombone wah-wah which Midori duly echoed- came thick and fast. Eötvös’s rapid shifts in mood and colour, combined with his fugitive tonality, generated suspense -what would he do next?- but Midori negotiated every twist in the journey with ice-cold brilliance, meticulously supported by the Philharmonia under Esa-Pekka Salonen’s direction.