Lalishri (2006)

The dances acheived a kind of apotheosis in multi-divided strings at one point, and the real climax, with Benedetti's broken octaves soaring exultantly above sustained chords from the string quartet at heaven's gate, as it were, carried an undeniable quality of ecstasy. You left humming the refrain that serves as a benediction over each section of the piece...

The soloist starts alone, then is supported by an aura of orchestral strings that breathe around her, and at times join in the dance. There's also a string quartet, high on stage, which freezes time now and again, and which leads to the glowing resonances of affirmation - the final expression of bliss to which the music aspires.

It has moments of great beauty, not least the slow theme so strikingly similar in outline to the middle movement of Bruch’s G minor Concerto, the ubiquitous. But this is in no way a derivative work. Rather it strikes out on its own independent way with little attempt to follow traditional concerto form. [...]Sometimes wistful and mystic, sometimes wild and exhilarating;