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Upcoming British composer Robin Haigh's new piece MORROW exploited a new kind of keyboard, equipped with TouchKeys sensors, which allowed Kanga's minutest touch to vary the speed and microtonal inflections at which he played back repeated sampled piano sounds. Haigh based his composition in a traditional and deeply romantic harmonic language, but this was continually undermined by the echoing delays and subtly detuned elements, fully exploiting the range of speeds the sensors allowed to achieve a variety of polyrhythmic effects. Kanga delivered this performance with great sensitivity, allowing the beautifully resonant harmonies all the space they needed to create an expressive and delicate tracery of sounds. - Planet Hugill

Robin Haigh's "MORROW" is full of simple melodic gestures and chordal ambiguities, wrapped in the 21st-century metamodern sentiment. It is produced by the expressive capabilities of a TouchKeys keyboard, creating an undeniable sense of melancholia and a longing for the harmony of the romantic composers. -AllAboutJazz

A major addition to the repertoire - The Trombonist Magazine on THE DREAMERS

The pieces were lively, imaginative and skilfully crafted - a revealing insight into the mentalities of today's millennials - Frankfurter Allgemeine on THE DREAMERS (translated)

The recorder tones were stretched out in a loop in such a way that a hypnotic sound-wave-movement lay beneath the din, cleverly delayed by dance rhythms and finally echoed in the electronically generated vinyl crackle. There's something about making the artless so artful. - Neue Presse on AESOP 2 (translated)

Robin Haigh's “AESOP 2” combines sophisticated effects and microtonal structures with exactly the closeness and playful charm that characterizes the Composer Slam. It is therefore no wonder that his piece won the vote of the audience present in Hanover. - Deutschlandfunk (translated)

Music that amazes, brings humour and the extraordinary, rhythm and freshness - Amico del Popolo on SUONATORE (translated)

[...] an engagingly odd landscape of modernist fragments and other musical memories. - The Telegraph on SLEEPTALKER

A festival commission, Robin Haigh’s dream-like No One, for solo harp (2020) is laced with exotic, vibrato-like effects; in this reflective premiere, Oliver Wass taps into an archaic, timeless vein. - Musical Opinion

In the frenetic, ten-minute Grin, [Haigh] paints a smeared canvas teeming with cheeky flourishes, including weird, almost Mahlerian jigs and manically balletic swooshes, only for it to repeatedly deflate into eerie dissonance - The Times

A quietly effective re-imagining of music from another era, Morfydd was more than a respectful tribute. It caught the spirit of the earlier score while also giving the audience a flavour of Haigh’s own distinctive musical personality. - Musical Opinion

[In Feyre Foreste] inhabits an extraordinary sound-world full of surprises, was completely refreshing, with remarkable ensemble writing creating a magical narrative. The piece stood out from an impressively strong and diverse group. - British Composer Awards


The Man Who Woke Up is possibly the funniest opera this side of Gilbert & Sullivan [... ]This irreverent gem [is] lean, economical, and utterly lacking in pomposity [...] not to be missed  - Arts-Louisville

A highly successful thirty-minutes of provocative entertainment [...] this is one irreverent, dark comedy  - Chicago Theatre Review

Vibrant, witty orchestration keeps the farce on its toes - Chicago Classical Review