...a few people found something nice to say...

Agité III (piano)

"...a fond reminder of the extraordinary energy that characterized Melbourne’s compositional scene in the 1980s. This is music that is unforgiving, obsessive, saturated, as well as carefully controlled, precise and ambitious..."

Michael Hooper. MCA Music Forum Vol 15, No.3. May-July 2009.

See the full review here

 ...floating in the void... (string orchestra)

"Certainly the most challenging music presented, this work invited the audience into a mysterious and abstract sound world. The only piece on the programme to deal meaningfully with space and silence, layers of isolated pizzicato morphed into thematic fragments that explored and mapped out a delicate and complex web of events."

Mark Viggiani. AMC Resonate Magazine. 12 July 2009.

Cogs (percussion quartet: glock / xyl / vibes / mba)

"...is rich in clashing colours but at the same time the scoring is not densely packed. It is a work that should remain in active repertoire..."

Joel Crotty. The Melbourne Age. 15/12/2000.

Slap (Bb bass clarinet, percussion)

"...intriguingly titled Slap, an engrossing piece in which the [bass] clarinet simulates the harsh and raucous squawks and warbles of some exotic, angry fowl."

Neville Cohn. The West Australian. 9-10/5/2000.

Agité V (harp)

"...Agité V, the fifth in a series of agitated pieces, was the work that sounded as if it might have the most consistent and forceful personality while suffering most from limited rehearsal time."

Roger Covell. Sydney Morning Herald. 7/9/1999.

Jericho's Strange (Orchestra)

"...Colbert's response to urban dysfunction...pulsated with the rhythms of alienation."

Patricia Kelly. Brisbane Courier Mail. 20/11/1995.

 Glimeren (piccolo, guitar, celesta, violin, viola)

"...revealed in essence a reflection on more varied sonorous possibilities, an exploration of timbres elaborating the grades of pianissimo in a continuous search for new effects."

LA NUOVA (Cagliari). 5/12/1991.

Altered States (mandolin, guitar, harpsichord, percussion)

"...rapid, quicksilver music...The keyboard dominated the initial bars with a series of trills that emphasised the basis on which the piece is constructed...but the hard work fell to (the) guitarist who negotiated a massive, demanding solo..."

Clive O'Connell. The Melbourne AGE.17/7/1990.

"...Its pointillist style and rapid transference of motifs and trills between instruments brought about some scintillating effects. The extended guitar solo was vigourously played...and the work's jagged textures were underpinned by...sensitive percussion..."

Michael Christofordis. Australian Guitar Journal. Vol. 2. No. 2 1990.

"The combination of mandolin, guitar, percussion and harpsichord perfectly suits this music of rapid, obsessively ornamented figures..."

Liza Lim. OSSIA. Spring 1990.