David Ward in August 2014
“Ward’s music is direct clear and expressive; players and, I should guess, particularly singers must find his work grateful to perform … Ward’s compositions display, at their best, the stamp of the authentic, the ‘necessary’.” Classical Music
David Ward in August 2014
On the String Quartet no.6:
“String Quartet No 6 succeeded in negotiating a finely drawn line between the grittiness of modern musical language and a softer more nostalgic style, slipping easily into splendidly fanciful melodic reverie at the heart of the piece and then as easily back into ever faster passages driven by intoxicating dance-like rhythms.” The Herald
On the Concert Overture on Themes from Jack’s Engagement:
“Full of vigorous rhythms, crusty textures and fluctuating moods … promises
well for the opera when it is produced on stage.” Music & Musicians
On The Snow Queen:
David Ward in 1968, at the time of writing A Full Moon In March
“The Snow Queen works particularly well … one of the BBC’s more
distinguished opera for radio commissions.” Tempo
“… a goose-pimply chamber opera … the libretto by Kevin Ireland can
actually be clearly heard … and it’s worth it.” The Sunday Times
“… lustrous sound, performed with verve and polish, and superbly recorded.” New Zealand Listener
“… my role is very lyrical with lovely sweeping lines.” Della Jones on
creating the title role. Radio Times
On Variations for Cello and Orchestra
“… makes a delightful little brother to the concerto the composer wrote for Ross Pople in 1978 … Ward is a composer not afraid to write melodies (from the cellist’s point of view, very playable ones) …” The Strad
“Ward’s writing for Pople was particularly effective.” The Times
On A Full Moon in March:
“… a canny sincerity and a clarity both of
detail and overall intention … A strangely impressive work.” The Listener
“… strong melodic lines …” Irish Times
David Ward in 1989, at the time of writing Beyond the Far Haaf
On String Quartet No 2:
“… a dramatic and well crafted string quartet … his use of his forces is lucid and confident. Throughout a score which provides rich virtuosic pickings for all four instruments, he shows a real understanding of each instrument’s individual timbre, balancing lush solo writing with tough quirky accompaniment.” The Scotsman
On Beyond the Far Haaf
“The piece was extremely moving – the connection between orchestra and audience felt potent and the hour’s music always held one in suspense.” The Scotsman
“The work was shocking, stimulating, gripping and powerful, and at the end of the orchestra’s excellent rendering there were even one or two wiping away a tear.” The Shetland Times
On String Quartet No 3
“Full of rich musical ideas and startling string writing … melody
proliferates and the use of strong rhythms gives a feeling of unity throughout.” Arran Banner
David Ward in 2007
“… expansive Clarinet Quintet has very striking ideas …” The Herald
Jane Manning on Three Sonnets to Orpheus in her book New Vocal Repertoire, Volume 2 (Clarendon Press, 1998)
“This is a work capable of making a very strong impression in concert … Ward’s deeply felt response to the texts manifests itself in a thoroughly extrovert way, unflinchingly passionate and heedless of any possible accusations of excess.”
On Piano Sonata (1999)
“… by turns quiet, peaceful, quirky, jokey … this work was not obscure and inaccessible – far from it – it traversed a difficult landscape, yet finally reached a calm and peaceful conclusion.” Deeside Piper & Herald
On “Little Duet” for clarinet and violin (2001)“Ward’s spacious and emotional piece was like a glimpse into a private world of exchanged intimacies.” The Herald
On Cello Concerto No 2
“Soloist Rohan de Saram attacked this action packed work with vigour and the orchestra responded with dedicated care to its varying moods.” The Scotsman