THE OBSERVER:
Oboists owe a huge debt to Roxburgh. Over nearly 50 years as both as a performer and a composer, he has pushed the boundaries of the instrument to new limits, exploring and extending its range and developing the techniques of glissandi, multiphonics and tonguing. Here, the highly accomplished Christopher Redgate offers a fascinating overview of Roxburgh's prolific and visionary output from the Sixties to the present day – and includes a sneak preview: a beautiful study commissioned for next year's International Oboe Festival.
Stephen Pritchard

THE SUNDAY TIMES:
Roxburgh is himself a virtuoso oboist and, as Christopher Redgate explains in the booklet, ideally placed to exploit the innovations in playing technique that the instruments has seen in the past half-century. Most notable is multiphonics, or playing more than note at once, and they make an early appearance in the fourth of these stylishly performed seven works, Eclissi, for oboe, violin, viola and cello. Antares, for oboe and piano, is full of such slightly sour sounds, but Roxburgh never substitutes trickery for musicality, and the eloquent recent solo Study 1 (a competition piece), and the much earlier Aulodie, for oboe/oboe d'amore and piano) have an admirable lyric purity.
Paul Driver

MIDWEST RECORD:
Redgate surveys oboe music from Edwin Roxburgh's last 40 years of composing here.  A progressive thinking contemporary classical composer as well as a fine player, Roxburgh's work is in fine hands with Redgate at the wheel.  Showing the proper feeling to give life to the works, Redgate knows when to lead and when to pull back letting other soloists have the space to add to the proceedings.  Solid source material, solid hands on, it all adds up to something special.
Chris Spector