“The instrumentalists were exemplary in the seemingly unlimited sounds they elicited, with pianist Winston Choi and bass flutist Emma Hospelhorn standouts in their respective parts which ranged from the delicate to the bombastic.”
— Gerald Fisher, Chicago Classical Review
“ In Augusta Read Thomas’ Capricci, flutist Emma Hospelhorn and clarinetist Zach Good brought joyful ferocity to their musical conversation.”
— Wynne Delacoma, Chicago Classical Review
“A marvel of restraint, precision and quiet....like a folktale turned oddly, surreally modern, a magical realist scenario set in the right now.”
— Dusted Magazine
“A scintillating solo debut.”
— Chicago Reader
“Throughout the track, the backing seems to almost organically shift, rippling like a pebble skimming over a stream via waves of processed loops of flute, chanting, occultish backing vocals and even a delightful blast of droning, low-end French Horns. Intriguing, enchanting and not quite like anything you’ve ever heard before.”
— For The Rabbits
“Surging tonal waves — punctuated by Emma Hospelhorn’s crisp flute — that eventually grew into a seamless conversation between the versatile instrumentalists....One of the strongest performances of the night, though, was Reencuentro, by the Mexican-British composer Hilda Paredes. Hospelhorn’s bass flute brought out rich textures, and Jimoh and Horie provided harmonics as the trio volleyed a multitude of sounds.”
— I Care If You Listen