From the first delicate notes of Ligeti’s atmospheric and densely structured piece “Lontano”, the hall was held in a state of suspense. Petrenko masterfully succeeded in letting the flowing, finely balanced sound swell up and subside again. The music unfolds as if approaching from afar, and at the end disappears into nothingness.
Musik Heute, Corina Kolbe, 15/09/2016

György Ligeti’s Ramifications, an indelible masterpiece of the gauziest microtonal weave (…). (…) Here, the tuning of one string group is a quarter-tone lower than the other, creating a quivering web of 24 pitches, moving through extremes of dynamic, pulsing with interference.
Theartsdesk.com, Helen Wallace, 21/08/2016

In its introverted way, György Ligeti’s horn trio is one of the most subversive masterpieces of the last half century. It was the work that in 1982 signalled a radical change of direction in Ligeti’s music, taking him away from the European avant garde and towards a style that not only drew on the music of the past but also incorporated elements from other musical cultures. Ligeti went on to refine many of the ideas and techniques he first explored in the trio, but it remains an extraordinary work (…).
The Guardian, Andrew Clements, 22/06/2016

Ligeti’s great, troublesome [violin] concerto, completed in 1992, reminded us how gripping an unbridled exploration of melodic, rhythmic and harmonic deviation can be.
Financial Times, Martin Bernheimer, 07/06/2016

With each passing year, Ligeti’s 18 études for solo piano (1985-2001) seem less like “new music” and more like classics. These pieces’ connection to their ancestors — Debussy’s own set of études, their movement perpetual, whether fast or slow; the grandiose drama of Liszt; the complex rhythmic games of Conlon Nancarrow — are ever more obvious.
The New York Times, Zachary Woolfe, 17/05/2016