Press Quotes

Violin Concerto

‘…the sheer dislocating bitterness of the writing, both for Daniel Hope, the superb soloist, and for the orchestra…it’s the best thing Gabriel Prokofiev has written.’
The Times, ★★★★ (Richard Morrison), 2014

‘the programme for this work is indeed specific, including savagery, shell-shock, and sardonic imperial marches: the rationale is pure Shostakovich, though more literal. Daniel Hope, the instigator of this work, played its stratospherically high solo part with flawless accuracy.
The Independent, ★★★★

“One work, however, stood apart. Daniel Hope was the soloist in the world premiere of Gabriel Prokofiev’s Violin Concerto No 1 “1914” – an ambitious depiction of Europe’s descent into war. It contained some startling effects. The BIPO sounded good in it, and Hope impressed by playing atrociously difficult music from memory.”
The Guardian, ★★★★ (Tim Ashley) 2014

‘it created an extraordinary atmosphere, at once sombre, tender and surreal’
The Daily Telegraph, ★★★★ 2014

‘The versatile musician [Gabriel] takes an interesting path in his concert, which is more of a symphonic poem with solo violin. It is a musical diary that illuminates the events of 1914 from different perspectives and transforms them into fascinating moods. The solo violin (perfect for Charlie Siem) is integrated into the orchestra sound and is part of the multi-layered sound painting. Seven drummers plus timpani perform essential colour and rhythmic tasks, and winds and strings are challenged with unusual playing techniques.’
Saarbrücken newspaper, 2018

Concerto for Trumpet, Percussion, Turntables & Orchestra

‘The work also contains one of the finest scores composed for trumpet for a long time ( a boon for trumpeters who do not have that much ) , and (soloist) Mary Bedat is dazzling.’
Nouvel Observateur, Nathalie Krafft, 2014

Cello Concerto

‘Only the merits of the work itself can explain the rapturous applause it received. Although a little more conservative in style than some of Gabriel’s other recent music, the Concerto presented here was an ideal introduction for Russian audiences to his musical world. It showed him to be a composer with a distinctive vision, one who has no intention of following in the steps of any of his predecessors, least of all his grandfathers.’
Tempo, (David Dixon) 2013

Concerto for Bass Drum & Orchestra

‘If you think you have an idea of what a concerto for bass drum and orchestra might sound like, just know you are completely wrong and you don’t. Prokofiev brilliantly saw past everything on the surface and found the inner life of the instrument. We heard it moan, sing, wail, reverberate, clink, clank, and everything in-between.’
Chicago Classical Music (Kathryn J Allwine Bacasmot), 2012

Concerto for Turntables & Orchestra No.1

‘… the real surprise here was the realisation that what was on his discs was also in the hall and that the funky interplay between the two was like flicking a time-switch between the 20th and 21st centuries. The speed-slurring of flute samples in the meditative fourth movement emerged like a cosmic message from Olivier Messiaen and there was even a cadenza for the main man…’
The Independent (Edward Seckerson), 2011

‘… groundbreaking and mind-blowing…’
Birmingham Post (Maggie Coton), 2011


‘Gabriel Prokofiev has created a work… that … could easily be subtitled “music to explore the heavens by’
Musicweb-international, (Steve Arloff) 2013

When the City Rules

‘Titled When the City Rules, his new composition is a substantial, vividly imagined, and expertly constructed half-hour-long symphonic fantasia’
Memeteria, (Thomas May) 2016

‘It’s almost a half-hour long, but the time seemed short, the music was so absorbing.’
CityArts, September 23, 2016 | by Philippa Kiraly

Dial 1-900 Mix-a-Lot

‘Sir Mix-A-Lot and a crowd of dancing women quite literally shook up a classical concert in Seattle on Friday night, thanks to a new orchestration by London-based composer Gabriel Prokofiev’
ClassicFM, 10 June 2014

Beethoven9 Symphonic Remix

‘an orchestral fabric that evolves by jolts in which Beethovenian chords are juxtaposed with a fully modern postmodern orchestra; therefore never bringing the composition to a pop result. In the final part, with the entrance of the choir, Prokofiev is applied with the electronic, distorting the voices of the choir (and invoking… the tapes of Luigi Nono in its fleshy collages). His is a skillful, affordable but not banal piece; A step closer to the normalization of the diffusion of the music of our time.’
El Correo de Andalucia, (Ismael G Cabral) 2017

Cello Multitracks

‘A powerful introduction’ to the music of Gabriel Prokofiev.
The Times

‘Peter Gregson takes the sheer virtuosity of all nine parts effortlessly in his stride … recommended to cellists and listeners drawn to the recreative potential of the instrument.’

‘Cello Multitracks draws fruitfully on dance music in its taut rhythmic construction and overlaying of nine separately-recorded tracks’
Classical Music, (Kate Wakeling) 2015


The Independent

‘Absorbing…An excellent listen’
I Care If You Listen

‘An engaging and original collection of avant-garde classical versus electronics—Nonclassical are carving out a unique niche style’
Igloo Magazine


‘Found objects and found sounds offer a telling commentary on globalisation… Import/Export is that rare achievement: music wholly sufficient in itself that is shot through with the cultural fall-out which inspired it…’
Gramophone, (Richard Whitehouse) 2011

Piano Book No.1

‘A compelling collaboration’
Time Out Chicago, ★★★★

String Quartet No.2

‘interesting, abrasive and…outright joyous’
The Guardian Guide, (Tony Naylor)

String Quartet No.1

‘That rhythmic texture was especially obvious in the major work on the program, Prokofiev’s First String Quartet, which has no electronic component at all, only traditional instruments. Yet throughout the work, the world of dance music kept insistently insinuating itself – through bows struck on strings, pizzicato pluckings, constantly repeating figures, complex interrelated rhythms’
The Globe & Mail (Toronto), (Robert Harris) 2013

Two Dances

‘I thought Prokofiev’s ‘Silente’: Dance for String Trio, Piano, Bass Clarinet and Scratch DJ, was brilliant. The melancholy story the strings tell—shrill in the violin, rich in viola, and droning in the voice of the cello, is punctuated by the ‘poop-poop’ of the bass clarinet, and frilled by the tinkle of the piano’s icy arpeggios. The tweedy hiss, crackle, squeak and squawk that Gabriel gets out of torturing the vinyl really speaks to the body.’, (Stanley Fefferman) 2013

Bayadere: The Ninth Life

‘This reconfigured Bayadère is an astute, intellectually alluring dance essay on cultural stereotyping… .It sounds good, too, thanks to Gabriel Prokofiev’s recorded score of subtle beats, shimmering whines and echoes of a past’
The Times, (Donald Hutera) 2015

‘…marvellous, inspiring mesh of history, poetry and ideas.’
The Guardian ★★★★, (Judith Mackerel) 2015 

Terra Incognita

‘This is a journey into new and welcoming territory.’
The Financial Times ★★★★, (Clement Crisp), 2016

‘The music brings so much to the work. The opening section is full of tension, then shifting with the narrative, it shapes the mood, ranging from lyrical to intense. Jeyasingh’s movement rides on the changes, at times sharply punctuated at other times flowing with ease.’, (Maggie Foyer) 2016

Strange Blooms

‘Forget delicate fronds and posies: Strange Blooms taps the power of roots that split rocks and tendrils that strangle. Though its vision is severe, the density of detail sometimes overwhelming and its score (by Gabriel Prokofiev) fractious, it prises open your brain and reconfigures how you think.’
The Guardian ★★★★ (Sanjoy Roy), 2015

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