RICHARD PEAT - COMPOSER
'. . . a composer with an interesting and individual musical voice . . .'
(Mark Bellis, Cathedral Music - 2023)
On the album Faces in the Mist: ‘The music is beautifully written, basically tonal with dissonant moments, uses voices and instruments in creative ways, and is deeply expressive of the texts . . . The choirs give superlative performances, especially the Ely Girls, whose riveting performances of this sophisticated music continues to prove that children are capable of learning, understanding, and performing serious music. Excellent notes on the music by the composer, with texts.’
(American Record Guide - 2023)
On the album Faces in the Mist: '. . . one cannot but be amazed at the way Peat manages to create striking and evocative music when writing for such a variety of different forces, including the challenge of writing for children's voices.'
(Robert Hugill, Planet Hugill - 2022)
On the album Faces in the Mist: ‘There is much to admire in this showcase of choral writing of Richard Peat, the most-performed composer from the John Armitage Memorial’s (JAM) annual anonymous Call for Music. Highlights include a dramatic setting of King Henry II’s apocryphal words that prompted the murder of Thomas à Becket, one of an impressive trilogy of reflections of Canterbury Saints; and Watching the Dark, a first world war centenary sequence . . .’
(Clare Stevens, Choir and Organ - 2022)
On the album Faces in the Mist: 'Peat’s brilliant choral writing justly deserves an album to itself.'
(Andrew Palmer, Chimeo - 2022)
'Richard Peat’s Corpus Christi Carol, by contrast, is marked ‘Espressivo (sempre guidata dalle parole)’ and is tightly constructed, with 13 short sections contrasting canonic writing with expressive parallel-motion passages and others with three-part chords all centred round E minor. The climax at ‘Corpus Christi wretyn theron’ is shattering.'
(James L. Montgomery, RSCM - 2022)
On Whereupon the soul leapt from the body: 'We all thought this was bursting with colour and highly effective. A marvellous work indeed - and all in 60 seconds!'
(Michelle Castalletti, Director of Oxford Festival of the Arts, Conductor, Composer - 2021)
‘Richard has an important voice, allied with an excellent technique and no little gravitas, and a real ability in word setting. It has been a pleasure to conduct a number of his works . . . an important and vibrant voice.’
(Nicholas Cleobury, Conductor - 2019)
'I’m the King of the Castle leaves a powerful and disturbing impact. Richard Peat’s finely etched music follows on from Britten’s Turn of the Screw, placing us in a timeless world where human behaviours and latent cruelty emerge with insidious progress. The full drama of Susan Hill’s story is brilliantly heightened in this memorable and compelling opera.'
(Paul Max Edlin, Composer, Artistic Director Deal Festival and Director of Music Queen Mary University - 2019)
'I’m always thrilled when a score from Peat gets through the music panel, because I know that our audience will be challenged and delighted in equal measure . . . I find Richard’s music is constantly challenging, never alienating and always rewarding to listen to.'
(Edward Armitage, Chair of the John Armitage Memorial and JAM on the Marsh - 2019)
‘I am sure you will do very well for yourself in the musical world.’
(Sir Peter Maxwell Davies, Composer and Master of the Queen's Music – 2011)
‘Richard Peat’s Fiery the Angels and Hannah Kendall’s Fundamental are both hugely accomplished works.’
(****Simon Thomas, MusicOMH – 2010)
‘Richard Peat's Fiery the Angels set Timothy Knapman's apocalyptic poem for solo baritone and brass ensemble, with Giles Underwood delivering a vehement account of a text warning against ecological disaster.’
(George Hall, The Guardian – 2010)
‘Richard Peat's Winter Landscape, inspired by the Caspar David Friedrich picture of that name, resourcefully mirrors the elements of landscape painting in a piece largely for solo trumpet, with shifting perspectives provided by organ and choir (the latter intoning the carol Down in Yon Forest).’
(****Barry Millington, London Evening Standard – 2008)
'Richard Peat's An Intimation . . . a powerful and dissonant piece.’
(Robert Hugill, Music and Vision – 2004)