Assassin Hair
“Assassin Hair …sets a series of fragmentary poems by the surrealist Georges Bataille, presenting the texts in measured, almost stately lines for the mezzo-soprano soloist. Their extraordinary imagery is balanced with instrumental writing that veers from introspective brooding through expressionist violence to wild, delirious extroversion. “ Andrew Clements – The Guardian
"The first half had ended with the undoubted highlight of the evening – the first performance of Jonathan Cole's Assassin Hair. Cole came to attention three years ago ... Assassin Hair fulfils the promise shown then, in impressive and unexpected ways.Cole sets five poems by the French writer Georges Bataille... conveys the wildness and unpredictability of Bataille's wordplay (the Sinfonietta's instrumental line-up utilised to the full), while an emotional follow-through across the three parts ensures that an intelligible, but never schematic form holds the freely associative imagery in check. Jean Rigby, whose rich and lucid mezzo tone stood out against the fastidious timbral and dynamic shades of Cole's ensemble writing, performed Assassin Hair with typical commitment. An undoubted achievement that deserves
further performances." Richard Whitehouse - classicalsource
Caught
"strikingly neomodernist" Paul Driver - The Sunday Times
"Jonathan Cole's Caught is a 6-minute 'chord study' that consistently beguiles the ear with its nocturnal lyricism and the imaginative textures that Cole conjures from piano, viola, cello, flute, clarinet and vibraphone. The listener is led naturally to what seems the piece's inevitable place of rest." Colin Anderson - classicalsource
Ouroboros II
"remarkably well imagined" Andrew Clements - The Guardian
"menacing and atmospheric" Laurence Hughes - The Independent
"The year 2000 has seen Jonathan Cole launched as a major compositional voice in new music. The London Sinfonietta's premiere of Ouroboros II, later broadcast on Radio 3's Hear and Now slot, confirmed a composer combining Boulez and Carter with a rhythmic impetus which recalls Roberto Gerhard" - Gramophone (Awards Issue) 2000
Penumbra
“Jonathan Cole’s Penumbra presented yet another face of the phenomenon: this was the first outing for a revised version of a piece premiered last year by a pared-down London Symphony Orchestra. Remaking is at work within the fabric of the piece, too, the title denoting both the conceptual inspiration of exploring an image through its reflections, of an object approached ever more nearly through its shadows, and the musical ’shadows’ which effect this formal aspiration as the piece grows backwards and forwards from its central viola solo. With this kernel of intervallic and melodic substance, Cole is able to invent both the rhythmic propulsions of the middle-movement scherzo and the more sombre colours of its outer neighbours. The finale in particular achieves an uncommon eloquence of instrumental speech, with a real sense of meaningful space around the notes as the piece returned to where it began.”John Fallas – classicalsource
Scrawling Out
“Jonathan Cole’s new piece also pit’s a group of strings against a single instrument, but Scrawling Out makes a feature of this opposition. The oboist Gareth Hulse, seated apart, quickly established himself as the narrative voice, the others acting as his “shadow” - occasionally anticipating his music, but more often taking his lead, in a piece that is far more poised than its title suggests.” Erica Jeal - The Guardian 25.03.06
“Also receiving its first performance, Jonathan Cole’s Scrawling Out for oboe and string trio emphasised the “otherness” of the lone woodwind by requiring the oboist to sit across the stage from the strings. This was reflected in the music: the other instruments didn’t accompany the oboe so much as shadow it, distorting, anticipating and reinforcing its material. Oboist Gareth Hulse impressed with a reading of some depth, and the interplay between all four players was dazzling.” Paul Conway - The Independent 27.03.06
Testament
“Jonathan Cole's Testament, a short but eloquent tribute to Sue Knussen (the conductor's late wife, to whom composers were her 'lifeblood'), opened in a still, small voice before erupting into rage at her premature loss. Underpinned by notes representing the name Sue, the 12-minute piece ended in reflective mode, its European premiere confirmation of Cole's powers.” Anthony Holden - Observer 11/12/05
“Testament … a haunting, soft meditation for small ensemble “ Alan Rich – San Francisco Classical Voice
“An Ojai Festival co-commission, British composer Jonathan Cole's "Testament," an ethereal, intriguing 10 minutes, a kind of modernistic answer to the Prelude to Act I of "Lohengrin," opened the afternoon's concert.” Timothy Mangan - The Orange County Register
“Jonathan Cole's "Testament": a well-crafted piece full of rich timbral detail” Jeremy Eichler – New York Times
“A quiet, haunting, finely detailed score written in memory of Sue Knussen, "Testament" is music at ease with nature, an accompaniment to the rustling of leaves on a warm late afternoon, and deeply touching.” Mark Swed - Los Angeles Times
“Returning after extended illness, Oliver Knussen presided over a varied concert of various premieres – beginning with a recent work by Jonathan Cole. A posthumous tribute to the writer and new-music advocate Sue Knussen, Testament (2005) traces a steadily unfolding melodic line across a sombre but eventful background; one that draws on the musical motif E flat-E (i.e. – S(u)E) as well as taking in allusions to Stravinsky's memorial to Debussy – Symphonies of Wind Instruments – as the piece reaches its expressive climax. Scored with clarity and refinement, this is yet a further instance of the diversity within what – over the past few years – Cole’s has become a recognisable and personal idiom.” Richard Whitehouse - classicalsource
“the steely delicacy of Jonathan Cole’s Testament (2005) had a Webernian ring” Paul Driver - The Sunday Times 11/12/05