Thomas Simaku House composer

The technical command, dramatic pacing and vivid orchestration made for a seriously impressive musical essay with a real sense of purpose and outrage.

Yorkshire Evening Press, 1999 on The Eagle on the Cross

"...Soliloquy III for solo viola [...] explores a wide range of high harmonics and microtonal effects, rapidly switching from violent chordal attacks to spare bowed fragments, reminiscent of Georgy Kurtag in its spare atomistic compression.

Sun-Sentinel, Florida

A piece of unaccompanied violin writing which brings out the instrument's genius for passionate expression, fully realised in the young Luxembourg violinist Vania Lecuit's riveting interpretation.

Peter Graham Woolf - Seen & Heard, London - review of the ISCM Festival, Luxembourg 2000 on Soliloquy I

...Rèflexions de la Croix III was the only work in the concert which demonstrated a real individual charisma.

Stuttgarter Nachrichten, 2006

...the work's periodic climactic outbursts achieved striking effect.

The Guardian, 2005 on Radius for 11 solo strings

...a piece of controlled, dramatic and surprisingly individual power.

Keith Potter, Tempo, Cambridge, April 2005 on Hyllus for Orchestra imaginative and captivating piece.

ISCM - World New Music Magazine, July 2006 on Hyllus for Orchestra

It is barely conceivable that two voices, accompanying and contrasting one another, and each laden with different associations, are both played by one and the same bow.

Frank Kämpfer, Deutschlandfunk, Cologne, 2008, translated by Mark Hutchinson (read the full review) on Due Sotto Voce per Violino Solo

The works recorded here confirm my early impressions when I first heard some of Simaku's music. Here is a composer who obviously has things to say and who knows how to say them best.

Hubert Culot, MusicWeb International, 2008 on Naxos CD Works for Strings

...tumultuous and glistening, with a deeply convincing inner strength, structural integrity and an impressively thunderous character.

Politiken, Copenhagen, 2005

Simaku's idiom combines avant-gardism and modality in a manner all its own.

Frank Kämfer, Avangarde und Ethnologie vereint, Deutschlandfunk, Cologne, 2008

...the elegance of Ligeti and the gritty intensity of Kurtág, a fascinating combination.

Fanfare Magazine, USA, 2008