Wrought Iron

... is “hauntingly melodic and fun,
dancing and almost running its way forward.
There may even be a little Zappa in the syncopation
and in the whimsical handling of modes.”
- Marc Medwin, Fanfare Magazine

“There is an intricacy to the
players' interaction that seems,
to the present writer at least,
to invoke or reflect some physical design.
Ensemble between the two players needs to be
particularly tight in this piece,
and the result is indeed magical”
- Colin Clarke, Fanfare Magazin

“ . . . clever, funky, jazzy and virtuosic”
- Geraldine Freeman, Daily Gazette

in the speaking silence

. . . “explores a reverent sound worldthat hovers just above the brink of silence.”
- Maggie Molloy, Second Inversion

“ . . . a gamut of emotions is expressed
during its eight minutes, from reverence and supplication to mournfulness despair.” - textura

“movingly austere...”
- dbarbiero, Avant Music News

“ . . . there is an inevitable touching aspect
to this piece of sonic mourning. . .
There is a remarkable multiphonic on saxophone here–
remarkable both for its veracity ... and perfect control.”
- Colin Clarke, Fanfare Magazine

Saturation

“. . . one of Oregon’s brightest emerging voices,”
“her striking contribution (Saturation) . . .
blends the sax's squawky side with spare,
melancholy passages to traverse
a complex emotional landscape.”
- Brett Campell, Willamette Week; Eugene Weekly

From Cycles of Eternity

“ . . . offers a luminous glimpse of the next world . . .
. . . the counterpoint is often slow-moving,
a bit like hearing lava move . . .
. . . and it is in the stillness of the final panel that the work finds its home.”
- Colin Clarke, Fanfare Magazine

“ ‘Life’ . . . is especially haunting”
- American Record Guide (July/August 2019)

“ . . . Life features soprano Arwen Myers in a
dramatic and colorful solo
— at first robust, then lyrical and compelling.”
- Bruce Browne, Oregon ArtsWatch