Lost in her thoughts, her mind begins to meander and her imagination spirals into a series of five tales that range from love to despair, and that combine memory with fantasy.
Reviewing the world premiere, John von Rhein of the Chicago Tribune said the piece "turned out to be less of an event than one had expected" and wrote:Despite the meticulous sense of craft that is the composer's hallmark, and despite the extraordinary poise, assurance and sensitivity Koh brought to the continuously unfolding solo part, the musical content ultimately proved too thin to sustain interest on its own.
As for the electronic embroidery, the mostly unintelligible speech and piercing yawps of synthesized sound (like bursts of feedback) added little but aural irritation to the work and could easily have been dispensed with.
[2] Lawrence A. Johnson of the Chicago Classical Review similarly criticized the "ill-judged electronic component" and a "rather anticlimactic" coda, but nevertheless added:The Seamstress has some lovely moments and is an engaging work in Clyne's best affecting vein.
As with many of the composer’s efforts, The Seamstress would seem to be a much stronger and more effective piece in an unplugged version minus the electronics, which feel unnecessary and grafted on.