Selected Press Quotes

“…cogent, haunting and, at the end, desperately poignant.” [about The Tall Office Building Artistically Considered]
Richard Morrison, The Times

A Party andThe Tall Office Building Artistically Considered are genre-exploding delights that succeed in provoking new and exhilarating possibilities for the form.”
Lee Anderson, A Younger Theatre

“The clear stand-out of the night was Christopher Mayo’s Under Dark Water…Mayo’s piece was economic in its orchestration and evocative of the Kindertotenlieder-themed texts…Both in style and delivery, it reminded me of a cross between Robert Ashley’s spoken word carriage, and David Lang’s fragmented yet lyrical vocal pieces. I’m looking forward to hearing more from Mayo in the future.”
— Michael Vincent, Musical Toronto

“...a hypnotically beautiful work. The light-textured orchestration and the almost subliminal vocal parts provide a magical correlation with the text.” [about Under Dark Water]
— Michael Johnson,

“[A] skilfully written work that provides so much from such little material.” [about Therma]
The Classical Reviewer

“…ominous music that feels evocative of time and place.” [aboutTherma]
— Rebecca Franks, BBC Music Magazine

“Mayo's attention to instrumental detail was notable, producing a glittering edge of harps, celeste and percussion.” [about The Llano Curve]
— Rian Evans, The Guardian

“Mayo has that pragmatic, but also self-aware, sense of how his attractive and intelligent compositional voice is currently taking shape, factoring in consideration for musicians and audiences, and wary of hermetic trends in contemporary classical music.”
— Julian Cowley, Musicworks Magazine

“"Of Trees & Fields & Men" (2011), by Christopher Mayo, a Canadian, was inspired by a verse in the poet Kenneth Patchen's "Wonderings" that begins with an odd simile: "O 'listen' is like an elephant/ Who stalks the woods at night." The elephant's weight and gait are captured in the rhythm, texture and vaguely South Asian spirit of this mildly exotic work for large ensemble. Hints of trumpeting and steady, muted cymbal crashes reinforce the image. But Mr. Mayo moves on: toward the end of the work the steady stomp gives way to a lovely, Neo-Romantic violin solo that morphs slowly into a chordal, rhythmic ensemble exploration.”
— Allan Kozinn, The New York Times

“Christopher Mayo's "Of Trees & Fields & Men" a festival commission featuring both ensembles conducted by Filippo Perocco, captivated with a quickly shifting kaleidoscope of sound worlds, bookended by mysterious, jazzy passages. At various points, the work also came to life with a thumping timpani beat matched by shimmering cymbals, jangly metallic music that sounded like an orchestrated wind chime, alternately skittering and sustained strings and a clang of pitched percussion that led to an abrasive but rewarding conclusion.”
— Ronni Reich, The Star-Ledger

“In "Death on Three-Mile Creek," Christopher Mayo resourcefully evoked Appalachian folk styles, New Orleans funeral marches and the shifting pulses of drum 'n' bass electronica in setting aphoristic eulogies by Jonathan Williams.”
— Steve Smith, The New York Times

“[Goldie] has been working with a young composer called Christopher Mayo and is full of admiration – “He's like a watchmaker who has this hobby of making little carousels that all spin and turn and ballerinas pop out of boxes and woodmakers and cuckoos pop out.””
— Lynn Barber, The Observer