| CITY ADVENTURES | ||
| The secret of his success in this highly energetic and pulsating work is the use of jazz rhythms and the different roles he gives the soloist…. Burgon steers clear of true jazz-classical fusion, though the inclusion of the drummer’s improvised solo at the end of the first movement is a brilliant stroke, building up a rhythmic intensity to a full orchestral climax. Evelyn Glennie was an outstanding soloist… David Honeyball. HAM & HIGH (Evelyn Glennie’s) virtuosity was fully tested in Geoffrey Burgon’s new City Adventures for solo percussion and orchestra. A substantial and effective piece, it has her playing standard-ish jazz kit in Part 1, marimba/vibraphone in Part 2, and dashing between two sets of instruments in Part 3. Like Copland’s Rodeo, which ended the THE INDEPENDENT |
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| BRIDESHEAD REVISITED | ||
| The narrators place at the heart of the drama itself is heightened at every point by Geoffrey Burgon’s score which, based on a simple four-note figure, flowers and modulates between ecstasy, alarm and grief, reflecting the patterns of Charles Ryder’s mind in the tone colours of Henry Purcell, master, like Evelyn Waugh, of melancholy and the English baroque. It is rare for screen music to reflect so exactly not only what is being seen, but what is going on behind it, and to sound as if it is doing so, like Charles himself, through a screen of memory, snatching at an Arcadian dream. Michael Ratcliffe. THE TIMES | |
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| BRIDESHEAD REVISITED (ALBUM) | ||
| The recorded music forms forty minutes of symphonic impressions – one of the finest ever composed for television. The album itself is one of the best of it’s kind. John Christopher Travers. GAY NEWS | |
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| NUNC DIMITTIS (TINKER, TAILOR, SOLDIER, SPY…) | ||
| Throughout each episode Burgon’s music sets the tone and keeps us interested. It implies a cleverness, a sophistication, that the script does not always deliver. The crowning moment is the boy soprano. His High Church psalm is sung against a background of ancient college spires…. Nothing in the script evokes the rotten, respectable world of Philby (sic) so well as the music. Peter McKay. EVENING STANDARD | |
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