It is written to please and does not put a foot wrong, as it dances energetically along to some singable themes, with invigorating rhythms, cast in a clear structure, and above all flourishing a masterly grasp of orchestration. The brassy extravagance of the first dance sounds like Walton and the tangy woodwind writing later like Britten, so Maw's debts to his English forebears are clearly signposted.Richard Fairman, Financial Times, 27 September 1995
