David Lancaster House composer

What carved a more specific profile and won the laurels was David Lancaster's Ricercare...a significant piece. His command of brass vocabulary is broad but beautifully precise - a genuinely idiomatic piece of work.

(Michael John White, The Independent)

Echoes from a Phantom City for flute, viola, and harp is an intriguingly different conception — a grave little processional of interacting musical images, somehow much more imposing than its small dimensions and gentle scoring would imply

(Malcolm Hayes, Tempo)

David Lancaster…used the difficult medium with bold ingenuity. 

(John Martin, The Guardian)

Long melancholic lines were tastefully placed with more rhythmic material in this heartfelt piece. This was the highlight of the evening.

(Martin Scheuregger, York Press)

Lancaster’s piece was one of nobly fashioned melodies becoming fractured and frenzied, then quiet in portrayal of madness and death. 

(Paul Griffiths, The Times)

David Lancaster’s cleverly-planned Six Downie Nocturnes…combined a deep melancholy with evanescent bursts of inspiration.

(Martin Dreyer, York Press)

The clarinet and piano duo … radiated a consistent brightness in David Lancaster’s punchily spirited, tough Seconds into Infinity. 

(Stephen Pettitt, The Times)

David Lancaster’s intriguing Bliss, to words from an old English carol, brought an enigmatic dissonance to its title word and omens of the Passion to “in excelsis gloria”.

(Martin Dreyer, York Press)

David Lancaster’s Swan was a very impressive work. The opening had a mysterious, almost elemental sound that was very distinctive. The transition to a funky, driven last section was as pleasing as it was unexpected.

(York Mix)

David Lancaster’s After Ophelia was an intensely dramatic piece, well constructed, and given an absorbing, thoughtful performance. 

(Michael Tumelty, The Scotsman)

David Lancaster’s Snow / Dance took Debussy’s The Snow is Dancing as its source material.  The resulting score wove a series of intricate variants on the original material rather than departing too far from the source.  Lancaster’s own idiom eventually came into focus but the transition was effected subtly and with considerable panache.  In the upper reaches of the keyboard and sounding like a distant chiming of bells, the final section was especially evocative.

(Paul Conway, Musical Opinion)