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Bayan Northcott on ‘Noche Oscura’ in the Sunday Telegraph

‘Superficially, John Hopkins’s St. John of the Cross setting, Noche Oscura could easily have been construed as an exercise in Maxwell Davies’s more involuted vein of permutational counterpoint. But its sweetly pervasive thirds and sixths and gradual accession of an almost hedonistic shimmer of mandoline and guitar suggested a young composer of genuine individuality in the emerging.’
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