Press

Telegraph ★★★★☆
“The warmth and depth of Symphony Hall’s acoustics were very much in evidence from the start, in the premiere of Ryan Latimer’s specially commissioned Gorilla and Orange Sun. Inspired by the work of the children’s author and illustrator Anthony Browne, the 25-year-old composer (and Birmingham Conservatoire graduate) served up a perfectly judged piece full of chunky, colourful effects. From a striding start it was never over-scored, though, and the Gershwinesque syncopations all registered vividly.” (Read more)
John Allison, 16th April 2016

BBC Radio 3: Hear and Now
“Anarchic and cartoonishly fun” – Sara Mohr-Pietsch, 30th April 2016

Birmingham Mail
“Gorilla and Orange Sun with its somewhat hallucinatory title reveals Latimer’s vivid imagination for orchestral colours, its hobgoblin opening progressing into a moto perpetuo of irresistible momentum and New World jazziness. It would make a good curtain-raiser for many a programme.” (Read more)
Christopher Morley, 16th April 2016

Bachtrack ★★★★☆
“The Britten Sinfonia–Wigmore Hall co-commission Divertimento, written by young composer Ryan Latimer as part of the OPUS 2013 composition competition, had a unique style, though it fitted into the programme remarkably well. Like Britten and Bridge, Latimer seems to have a fine understanding of each instrument, as well as their roles in various ensemble types. He, too, combined conventional harmony with dissonance and advanced techniques, though there was far more of the latter here. A string quartet, plus harp and oboe, were used in various combinations during the piece. The audience seemed to understand it from the off; and, with Britten Sinfonia’s excellent playing (and serious approach to preparation, it seemed), it was most enjoyable, too.” (Read more)
Julia Savage, 8th April 2013

Classical Source
“Also included was the customary commission, on this occasion the Divertimento by Ryan Latimer (born 1990), using all the instruments featured in the concert. This scoring – oboe, string quartet and harp – reminded of Ravel’s Introduction and Allegro, but the writing is quite different. There was an earthy feel to the folksy exchanges between Nicholas Daniel and Jacqueline Shave, but after a full-blooded tutti the music subsided and explored unusual sonorities, with ticking pizzicato and some very subtle interplay between the instruments, using the harp in particular with clever economy. How refreshing to hear a new piece that doesn’t need to shout, and the graceful performance helped Latimer’s music make a deep impression.” (Read more)
Ben Hogwood, 3rd April 2013

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