HOLMES-Head shot - Sweden“Captivating…the haunting and slightly disorienting sound disrupts and engages the open ear.” (Joeseph Woodard, Los Angeles Times, 2004)

“By far the most interesting and musically arresting work on the concert…Holmes’ use of microtones was the most creative and successful uses this author has heard…music to be really heard and deserving of reflection.” (Benjamin Boone, Society of Composers, INC., 2004)

“Drifting, ethereal” (Brett Campbell, San Francisco Classical Voice, 2011)

“Holmes craftily develops his melodic material into an exciting flourish…cascading lines emote an ethereal “waterfall-esque” feeling.” (Marcus D. Reddick, Percussive Notes, 2013)

“Holmes’ composition [Nastrond (III)], named for the Norse mythology, features contrasting sonic events. Its characteristics include dramatic increases in pitch and dynamic; descending passages, some including third tones; and long periods of stasis that suggest many shades of gray. The guitar sometimes imitates and sometimes creates tension through opposing musical gestures. Technically demanding and musically fascinating, Nastrond is a signature piece.” (Karen E. Moorman, Classical Voice of North Carolina, CVNC Online Arts Journal, November 10, 2013)

“With melodic profusion, the piece [Nastrond (I)] morphs through several timbral palettes. Monophonic passages for crotales and violin alternate with thumping low drums and heavy bowed attacks. The piece ends poetically, a long-held tone fading glacially into niente.” (Damjan Rakonjac, The Artificialist, March 06, 2014)

“Jeffrey Holmes’ Fragments for soprano and piano challenges the typical role of voice and instrument. He treats the voice more as a chamber instrument than the usual declaimer of expression. The singer here is abstract and equal to the piano, given to melismatic chant (singing multiple notes on a single syllable) on a compilation of Latin phrases that focuses the listener on vocal timbre more than content.” (Russell Steinberg, “No Vocabulary for Music Today?”, June 02, 2014)

“Holmes’ music engages in the idea of landscape and mysticism through his spectral technique. Through his choice of pitch and rhythmic textures, stunning colors emerge.” (The Talea Ensemble, March 11, 2016)

“Jeffrey Holmes’ Ur was a break through premiere. With the ensemble surrounding the audience, each musician surrounded by similar set ups of gongs, toms, bass drums, flower pots, and cymbals, we listeners were bathed in swirling cascades of sound…it was magic.” (Nick Norton, New Classic LA, October 06, 2016)