Andrew Clements of The Guardian described the piece as "equally parsimonious with its material, sometimes reducing it to a single line or simple gestures."
Despite this light criticism, he nevertheless added, "But in its quietly beautiful, introspective way it touches on a whole range of musical worlds, from late Brahms to Arvo Pärt.
"[2] Also writing for The Guardian, the music critic Kate Molleson remarked, "Abrahamsen's recent language is less urgently polemical, more suggestive, and here he uses the orchestra to paint wide, subtle landscapes on to which the soloists place delicate but definite sound objects.
"[3] In an article for The Herald, Molleson further wrote:It would be foolish [...] to mistake the succinctness and natural, almost naive imagery in Abrahamsen's music for any lack of technical sophistication.
Tonality mingles with atonality; conventional tuning slips into just intonation; two tempos coexist and tropes from as far back as Bach filter into the mix.