Grime has never been one for protracted closures, and the thrust of Woven Space is abruptly cut off at its knees, though one suspects that the harmony has run its course to that very point with the kind of structural ingenuity and economy that would have raised a dry nod of approval from Haydn.
"[5] Richard Morrison of The Times similarly observed, "The three movements are disparate in tempo and mood, but all convey tumultuous tussle – between contrasting instrumental textures and between themes.
"[6] Barry Millington of the Evening Standard also lauded the piece, saying, "the opening, incident-packed movement, Fanfares deploys Grime's usual striking palette of sonorities, while its closing bars set off a coruscating ripple that hangs in the air.
Tim Ashley of The Guardian gave the piece a slightly more mixed review, however, elaborating:Grime echoes Bacon's work by weaving sonic fragments and melodic shapes into tapestries of sound that coalesce, disperse and reform as the textures alternately thicken, lighten and glare through the score's three movements.
The outer sections have a brittle quality that is in danger of turning insubstantial, though the central slow movement-cum-scherzo, with its slowly shifting string writing, carries deeper emotional resonance.