[2] Reviewing the world premiere, John von Rhein of the Chicago Tribune wrote, "The new work harnesses the signature strength of [the CSO's low brass section] in imaginative ways that allow them to function as a unit, duo, trio and individual voices, before her 17-minute, single-movement concerto charges to a rousing close."
He added, "This is a big-shouldered Chicago brass blowout if there ever was one — beautiful, accessible, inventive, impeccably crafted — drawing not so much on its muscular might as on its ability, less often recognized, to play softly and lyrically.
"[3] Hedy Weiss of the Chicago Sun-Times similarly described the concerto as a "wonderfully accessible, richly melodic new work — one propelled by exhilarating rhythms, vibrant orchestral color, and an ingenious use of strings, woodwinds and percussion.
Perhaps some revision and judicious expansion to Higdon's likable concerto might allow each of the four soloists to stand out more and differentiate their instruments more than is currently the case.
Thus, the foursome has many lyrical and dramatic possibilities of any concerto soloist, though not the agility that one associates with, say, a violinist who leaps into the ozone during the cadenza.