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Lynch’s classical scores and tango music could be perceived as opposites – the deep canyons of orchestral sound and luminous, vertical symphonic surfaces in Invisible Cities, and in the tango pieces for small mixed ensembles, an onward, horizontal momentum – but they aren’t. What connects these two sound-worlds is their spatial dimension or theatrum.”
Michael Bird

“Graham Lynch has a gift for packing entire worlds into a few minutes. His ability to present so much wonder, colour and philosophy into so short a span…”
International Record Review

“…pieces that confirm Lynch as one of the modern masters of the musical miniature”
International Piano

“…all this music possesses a personal and engaging quality expressed with a clear and lucid compositional skill…many colourful influences combine to create an individual impression, a distinctive flavour”
Gramophone

“Graham Lynch puzzles over the classic distinction between “tonal” and “atonal,” writing in praise of the neither-here-nor-there.”
Alex Ross, The New Yorker