Selected quotes

On Malinconia Militare (2003)

'Erika Fox, forced to leave Vienna at the age of three, was present to hear the premier of Warwick arts Society commission, 'Malinconia Militare', a substantial four-movement piano quartet bursting with gestures and natural energy, and making positive deployment of string harmonics. Such timbres, and the frequent almost cimbalom-like patterning of the piano, reminded us how close Vienna is to the borders of Hungary and the exotic beyond'   THE BIRMINGHAM POST


On the critically acclaimed Puppet Music Drama ’ The Bet’ (1990) 

'The Bet, premiered at the Purcell Room, deserves to start a trend'   THE INDEPENDENT


On 'Kaleidoscope' (1983) for which she received a Finzi Award

‘a most imaginative ear for the chemistry of pitch and instrumental voice’   THE TIMES

'beautifully coloured by its flute, cello, harp and vibraphone, it justifies its title by the symmetrical continuity with which its tiny formulae were deployed'   THE TIMES


 On 'The Dancer Hotoke' (1983) for which she was nominated for an Olivier Award

'With simplicity the watchword, the oriental minimalisms of The Dance Hotoke by Erika Fox and Ruth Fainlight has much to recommend it. Quite why I cared so much about the stylised passions of the three female characters is difficult to say. Judging from the breathless hush, I was not alone in being transfixed'  THE OBSERVER

'Erika Fox's The Dancer Hotoke unfolds with a well-controlled inevitability. Based on a Japanese Noh Play and with an effective, ritualistic libretto by Ruth Fainlight, it sets a measured pace at the outset and follows it through with assurance, drawing precise and telling sounds from the orchestra and sustaining interest in a simple story, directly told and sympathetically written for voice'  DAILY TELEGRAPH

'an impression remains of sensitively shaped vocal lines, effective sonorities and general control of pace and proportion'  FINANCIAL TIMES

'Fox's musical writing was hard-edged bright and economical'  SUNDAY TIMES


On 'Litany for Strings' (1981)

'Litany is consistently inventive, always ear-catching (sometimes magically so) and clearly the product of a creative musical personality'  THE TIMES


On 'Paths Where the Mourners Tread' (1980)

'The music teems with imaginative textural and melodic ideas’  THE TELEGRAPH


On 'Jeder Engel ist Schrecklick' (1978)

'It is a strong powerful study of the dark world behind Rilke's poem, a constantly evolving texture of sudden vivid shapes and soaring voices'  DAILY TELEGRAPH 


To read a review of Erika Fox's Burgh House concert, click HERE