Richard Whitehouse of arcana.fm writes: ‘Without drawing attention to itself in technical terms, Hughes’s music has an understated virtuosity such as adds greatly to the attraction of those pieces featured here. The performances are audibly attuned to this music, whether those by the Primrose Piano Quartet (arguably the finest such ensemble in the UK) or New Music Players which Hughes founded over three decades ago. Nor does the sound, recorded at two different venues, leave anything to be desired in clarity and perspective.’
In Classical Notes (July 2022) Nick Boston says: ‘There are strong performances throughout here, and Hughes’ music is always stimulating and full of contrast. Despite being largely landscape-inspired, he never gets stuck in creating a single pastoral atmosphere – there is a constant sense of life, movement and vibrant change here.’
Alan Cooper, of the British Music Society writes, in the June 23rd 2022 issue: ‘Ed Hughes’ compositional style is unique and thoroughly personal. Much ‘new’ music has close connections with the idea of place,and this is certainly true with Hughes’ music. …….. Elements of folk music, the merest touch of jazz in some of the rhythms, and melody lines on the outer fringes of tonality pervade Hughes’ musical style. The difference between ‘pop’ and ‘classical’ music is that with pop, one listening is all you need. With classical, and especially with Hughes, every time you listen, you discover something new, surely a treasure-house of musical inspiration.’
Musicwebinternational’s Rob Barnett likens Hughes' music to Tippett: 'This disc of chamber music, most skilfully played, includes a quarter of an hour, three-movement piece called Flint which, in its pell-mell, plunging, troublous power and centred peacefulness, takes a lesson or two from Michael Tippett, notably his Corelli Fantasia. Closely recorded, it achieves something not that far from massed string orchestral impact.'
Fanfare magazine’s Colin Clarke also talks of Hughes' distinct style: 'The music of Ed Hughes rarely fails to impress. …… Beauty and affection is present in bucketloads here Hughes’ musical vocabulary is wide, and while musical responses to countryside might conjure up images of the English Pastoralists, Hughes very much has his own voice, as the first piece, Flint, attests. Written in 2019 and scored for string orchestra, it is intended to evoke the chalk downs of the Sussex countryside with its sudden verticals and “cuts” (such as quarries, or where land meets sea).'
Textura’s review reads: 'While the harmonic material on Music for the South Downs is firmly rooted in a particular locale, its contemplative properties and textural richness allow listeners anywhere to imagine themselves taking in its changing landscape of rivers, hills, valleys, and paths and breathing in its replenishing air. Birds and animals are integral parts of the experience too, as intimated by the photos of a fox and owl in the booklet. Hughes astutely notes that music can function as an ideal corollary to the walking experience when both involve patterns of repetition and variation and produce the impression of movement flowing through time. As fellow composer Judith Weir states in her introduction, “This is music for walkers, and people who love the earth.”'
The reviews may be read in full at the following links:
arcana.fm/2022/09/10/ed-hughes/
nicks-classical-notes.blogspot.com/2022/07/cd-reviews-july-2022.html
www.britishmusicsociety.co.uk/2022/06/ed-hughes-music-for-the-south-downs/
www.musicweb-international.com/classrev/2022/Jun/Hughes-chamber-MSV28623.htm
www.textura.org/archives/h/hughes_musicforsouthdowns.htm
The CD may be purchased from Divine Art Recordings: https://divineartrecords.com/recording/ed-hughes-music-for-the-south-downs/.