‘Kilt-clad oboist Nicholas Daniel arrived to “reclaim Thea for Scotland.” In less time than it took to reset the stage, he played a pair of short, but meaty, pieces written for him, “Dawn” and “Whirlwind”–music that flew out of the oboe, like glitter being strewn by a magician, mixing glissandos and staccato. Daniel commended the composer for understanding that music “should feel good to play”; that feeling is passed along to the audience.’

Read this review in full online