“Robert Patersom’s Embracing the Wind for flute, harp and viola [performance by the Locrian Chamber Players] was good enough, and rarely heard enough, to justify the group’s decision to relax its policy (and, perhaps, to make you wonder whether there really is much point to the decade rule)... At the beginning of Mr. Paterson’s work, each instrument inhabits its own distinct sound world: the harp produces rolling arpeggios; the flute plays graceful, slightly exotic melodies; and the viola offers brusque, combative counterpoint. But Mr. Paterson gradually alters each line, having each take on characteristics of the others at first, eventually softening the edges to create a tightly knit... dreamlike wash.”

“...a charming and pleasant work making good use of the darker qualities of the viola and makes a terrific entry to the fairly sparse catalog of new works involving viola.”

“[Performance by the London-based Naiades Ensemble] ...an altogether more convincing work by a New York based composer... The piece had a dramatic opening, and was performed with precise, even technical control from all of the players. An extended viola solo was played with energy and conviction, and the composer made excellent use of the rich sonorities of the alto flute to good effect... this work presented opportunities for all of the players to shine.”

“Made of small cells of melody that tend to repeat and recycle at various tempi and various textures, this a fairly minimal sounding work that has some beautiful alto flute and cello interplay against a harp. This, too, is a very attractive and compelling work.”

“...Embracing the Wind started out as the intended depiction of an Olympic runner against the wind, but became more abstract as work progressed, distilled down finally to wind-like fundamentals. As pure chamber music it is enchanting.”