“I was happy to leave Redpath Hall with the rare sensation of having heard the world premiere of something that I want to hear again. Many new pieces profess to replicate architecture, but Three Rooms and a Lobby by Montreal-born Brian Harman actually delivers, by creating its own sonic environment through a kind of trompe l'oreille and fully exploiting the special beauty of choral dissonance. This music sounded three-dimensional, maybe four-dimensional in view of the festival theme. I forgot to look at my watch, so I am not sure how long it was. A good sign!”

“Brian Harman’s Gregarious Machines was meant to reflect on the effects of computer-based gadgets on human interactions. But microchips in themselves make no sound, which may be why Harman's score mimicked an earlier age's anxiety about technology. … He made good use of textural contrasts, and especially of long pneumatic rhythms that gusted through skillful combinations of instruments.”

"La pièce de 16 minutes [de Brian Harman] se déploie sur plusieurs plans et sur une dynamique extrêmement étendue, depuis des sifflements terriblement perçants jusqu'à des agrégats à peine audibles."