“The most adventurous work was Emily Koh’s Freyja for flute, clarinet, violin, cello and piano, which portrayed the changing seasonal foliage of New England. Autumn was vigourous and sprightly, giving way to the static austerity of winter before the augurs of spring brought a return to life. The astonishingly vibrant score saw the liberal use of microtones, with instruments sliding and seguing into pitches that lie between the notes. The seemingly off-pitched stances provided an unnerving and unsettling feel, which is probably the message of the piece–everything is impermanent.”
THE STRAITS TIMES SINGAPORE, AUGUST 28 2012
