“The stunning world premiere of Jane Stanley’s exacting Cerulean Orbit gave this Australian composer’s compelling, imaginatively cast work powerful ‘wings’ and the work stood proud in the company of Janacek’s and Saint-Saens’ Sonatas.” (Gillian Wills, Performing Arts Hub, 24 October 2016) Read full review here.
“Jane Stanley’s Cerulean Orbits discards conventional key-based composition in favour of anchoring notes, around which a melody orbits; the first part of her atmospheric, mysteriously beautiful piece has a silky, sinuous and slightly sinister quality, with the latter part recalling a heat mirage, and inducing a sense of heightened awareness and hallucinatory strangeness – almost a ‘Picnic at Hanging Rock’ sensation.” (Karen Hutt and John Hutt, Scenestr., 26 October 2016) Read full review here.
“Next was a new Australian work – Jane Stanley’s Cerulean Orbits in which the parts “orbit” one another, bending in and out of each other’s paths. This piece was full of complex and endearing timbres, musical dialogue, warping pitches from the violin and dissonant chords phasing into focus as if the music were three-dimensional. Both performers took to this work so naturally despite its rigorous ensemble demands, and showcased a full dynamic range between them.” (Thomas Misson, CutCommon, 25 October 2016) Read full review here.
“Following interval we heard a world premiere work by Sydney composer Jane Stanley. As usual, the benefit of attending a Musica Viva concert included hearing a new or recent Australian work. Cerulean Orbits (2016) heard in this concert was written for this duo and this tour. It had enjoyed much collaboration with the target performers during the creative process. The innovative new work, brings the individual timbres or energy centres of violin and piano into constantly shifting atmospheric closeness. Perhaps the work could be taken as a satisfying metaphor for the separate parts with constantly varying hues that make up any duo or chamber ensemble. This work’s concept and architecture was explained by Andrew Tyson and became a spellbindingly clear soundscape in the hands of its first performers. (Paul Nolan, Sydney Arts Guide, 16 October 2016) Read full review ” here.
“Cerulean Orbits (receiving its premiere on this tour) by Australian composer Jane Stanley (now at the University of Glasgow) evoked an expanding universe of sounds, melodies and swirling configurations attracted and repelled by inner and outer forces – the individual consciousness and the vastness of the cosmos.” (Peter McCallum, Sydney Morning Herald, October 17, 2016). Read full review here.
“Jane Stanley’s Helix Reflection seductively intertwined flute and clarinet lines in a sonic imagining of the double helix, performed with delicacy and perfectly blended instrumental balance by Lamorna Nightingale and Jason Noble.” (Liam Viney, 21 March 2014) Read full review here.
“Jane Stanley’s Diptych drew out the space between intense highlighted notes in the foreground and shades and cascades at greater distance in delicately savoured subtle textures.” (Peter McCallum, 20 August 2012) Read full review here.
“It was a theme also picked up by Jane Stanley’s post interval work, Gathering, crafted by the composer as a diverting, sprightly contribution. (Josie Balfour, 27 October 2009) Read full review here.
“…the shimmering and tinkling first two parts of Triptych by Jane Stanley for two percussionists were beautiful and sensitively abstract. My favorite in the selection by thy jury.” (Anthony Fiumara, 7 September 2007) Read full review here.
“Stylish precision and poised clarity characterise this enterprising disc of new percussion music by the brilliantly versatile Duo Vertigo (Claire Edwardes and Niels Meliefste). Jane Stanley’s Celestial Dance is softly pointed and flows rather than stomps.” (Peter McCallum, Sydney Morning Herald, 2006) Read full review here.
“Jane Stanley’s Spindrift/Interiors was the sort of piece which not only plays its own song but wants you to listen, drawing the listener convulsively forward in expressionistic leaps.” (Peter McCallum, 6 August 2003) Read full review here.