Fraser Trainer
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“an assured touch in creating intriguing complexes”

for the living – The Age 2009

“fleeting glimpses of melodic fragments that slowly and tenderly lead the listener away from the music of the distant past into new sonic landscpes"

RESOUND - The Times 2009

“compelling and energetic with twisting rhythms of colour"

Gadget - Kolner Stadt-Anzeiger

“wonderfully skilful and imaginative.”
Conc 2 Symmetriac (Squarepusher arrangement)

The Guardian 2006

“a hot-foot excursion – music that kicks out with the tips of its toes.”
Knots – The Independent 2005

“This expansive, three-movement piece revealed a composer who knows his craft, has strong ideas and likes to work them thoroughly. The convulsive syncopations of the first movement are compelling, the second has a naturally free flow, and the finale is an energetic take on the language of jazz.”
for the living – Evening Standard 2005

“Sounding at times like the soundtrack to your own life, full of ups and downs, light and shade with an underlying subtle but persistent menace, this is a mature work again played with such a high level of ability and understanding.”
ID - Sound generator 2004

 “generating rapturous applause from an eager and appreciative crowd.”
Conc 2 Symmetriac (Squarepusher arrangement) 2004

“a remarkable undertaking… a magical frisson”
Line-up (collaboration with Sound Intermedia)
The Sunday Times 2002

“innovative and entertaining… rich music that filled the cavernous spaces”
Line-up – The Times 2002

“The most innovative project of the weekend…a piece of serious and complex modern music and its itinerant audience were transfixed by the performance, the electro-acoustic accompaniment, and the music’s unique relationship with the space”.
Line-up – The Guardian 2002

“a visceral impact”
The Colour of Scars (CD review) – Gramophone 2002

“Well worth hearing again.”
The Colour of Scars (CD review) – The Guardian 2002

“The pieces that stood out were those whose imagination broke the frame of convention. Fraser Trainer’s The Colour of Scars, for soprano saxophone and 17 players, developed a vivid drama from its Turnage-inspired language.”
The Colour of Scars - The Guardian 2001

“The experience was pretty inspirational for both performers and audience
…comprising a short but perfectly formed overture and finale, exquisitely executed.”

House Monsters - The Edinburgh Evening News 2001

“a neat little sequence of miniatures with disco rhythms in their pedigree”
Motion Pictures - The Guardian 1998

“a compelling work, remarkable for its rhythmic drive and elegiac ending”
Motion Pictures - The Times 1998

“There were big smiles during the final movement, Playground, which skilfully wove playground songs and more complex orchestral textures...a passionate solo in the third movement, Museum Statues, was the other real highlight of the evening.”
True to Life - The Scotsman 1999

“one of the great successes of The State of the Nation, the (London Sinfonietta’s) weekend of brand new British music”
True to Life - Gramophone 1997

“as fine an exhibition of word-setting, harmonic control and sheer good old-fashioned inspiration as you are likely to hear in a long time”
Siebengensang des Todes - The Huddersfield Examiner 1998


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