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Testimonials and Reviews

Organica sit[s] comfortably between jazz and classical contemporary, exploiting the bright sound of brass against Murray's nylon strings with some subtle tonguing effects from Brennan.

Steve Moffatt - Daily Telegraph

In Organica, the trio frequently shifts and contrasts stylistic voices: the brass spontaneously enters with be-bop lines that end in sustained growls, while the guitar is at home in idiomatic tremolo, rasgueado, and improvisatory melodic lines.

Myles Oakey - cutcommonmag.com

The musical symbiosis between Baker and van Emmerik is precise and exciting. The Caprice is for me the highlight of this disc.

Dr David Thornton - BrassBandWorld.co.uk

[Ensemble Three] and the composers they commissioned were dreaming up some of the most beautiful and inventive chamber music ever created involving the guitar...In other words, this stuff is really cool! Highlights include Andrew Batterham's Organica, which uses an interesting bit of electronic manipulation of the guitar part.

Al Kunze - Soundboard Magazine, Guitar Foundation of America

Caprice is a fantastic and serious addition to the growing euphonium repertoire. There are more than enough opportunities to extend one's own technical prowess... and incredibly intricate solo lines in the slower movements. Caprice also offers the opportunity for the soloist to play with a number of accompaniments which work extremely well...
All serious performers will enjoy the opportunities Caprice has to offer.

Dr Matthew van Emmerik Grad-Dip Ed, F.R.S.M.

Batterham's buoyant How to Win the Rat Race... rings down the curtain.

Jack Bowers - All About Jazz

Still Glides the Stream is an evocative and quite beautiful piece that stays true to its intentions of reflecting the Arthur Streeton painting that inspired it.

Dr John Peterson - University of NSW

The writing for brass in And the Angel Gabriel Said... is idiomatic, imaginative and challenging, and the rhythmic aspect of the composition is ingenious and effective...Winter Music shows the capabilities and depth of expression of a truly gifted composer...Such Sweet Sorrow features many of the aspects of Batterham's compositional style - modal melodies, freely flowing formal structures and interesting rhythmic articulations.

Prof Stephen Ingham - University of Wollongong

Thank you for the marvellous arrangements you wrote for our Jubilee concert, they worked fantastically well. You made the unlikely pairing of Anthem from Chess and the Hallelujah Chorus work like a dream, and your orchestrations were perfectly tailored for our forces - playable and singable but with challenges. The bridge from Anthem to Hallelujah was just brilliant! So many people commented on it - the fragment of the Anthem melody in violas and alto sax with Zadok the Priest- like string accompaniment and the skilful build up to the introduction was, to my mind, a stroke of genius! Looking forward to your next offering.

Paul Jones - Balwyn High School

The slow introduction to Duke's Crusade is followed by rolling boogie-like lines before a slow, meditative panel occupies a movingly reflective central panel. This thoughtful piece is highly effective.

Jonathan Woolf - MusicWeb International

I have worked with Andrew on a number of narrative and corporate film projects
and am a great admirer of his musical compositions. His unique talent never fails to move me, he seemingly has the ability to cross into all genres with equal effect, and most particularly he has the wonderful abiltiy to create genuinely poignant melodies. He is also an intelligent composer who can respond to a brief while still remaining adaptable.

Bruce Grantford - Apricot Productions

Andrew Batterham has added ingenious sparkle to many original songs
and soundscapes for productions at our school. He is at home in any style and his arrangements were always full of surprises.

Joachim Matschoss - School Head of Performing Arts
Caulfield Grammar School, Melbourne

The Batterham is more cerebral in quality, but is noteworthy
for its tight structural sense and detailed dynamic and textural contrasts.

Organ Historical Trust of Australia review - Suite for trumpet and organ
Journey: Australian Contemporary Trumpet and Pipe Organ Music

Over the years Andrew has done numerous arrangements for various ensembles at Caulfield Grammar School. We commissioned Andrew to write a celebratory overture to take on our Symphonic Band's inaugural European Tour in 2006. I met with Andrew and discussed the levels of the individual players within the band and asked Andrew to tailor the composition accordingly. The result was Vanguard, a work that perfectly fitted the brief and after premiering the work in Melbourne before our departure, we then performed the European premier of the work at the Royal Northern College of Music (Manchester), for contemporary Wind Orchestra music champion, Timothy Reynish. Where words could fail through the language barrier in Austria, Hungary and Switzerland, Vanguard beautifully summed up our Symphonic Band and the band's first European tour by providing a jubilant and triumphant heralding at the opening of each of our concerts.

Simon Brown - Musical Director, Symphonic Band
Caulfield Grammar School, Melbourne

As Artistic Director of the Southern Grampians Promenade of Sacred Music
I commissioned two works from Andrew: Gariwerd in 2006 and Weaving Hochkirk in 2007. Both works were finished on time, beautifully written and
delighted performers and audience alike.
For the Choir of The Scots' Church he composed three psalms for choir and organ which we performed and recorded. We have performed the three psalms often.
It is a pleasure to work with Andrew as he combines a highly developed musical imagination with sure technical skills. He understands textual matters and has an unusual ability to match his work to the ability of the performers
for whom he is composing.

Douglas Lawrence OAM - Director of Music, The Scots' Church, Melbourne
Artistic Director: The Southern Grampians Promenade of Sacred Music
Founding Director: The Australian Chamber Choir

Batterham avoids the temptation of cheap tricks,
such as the crude mimicry of bush sounds. Instead, he draws on
the resources of a sophisticated compositional technique.

Johanna Selleck - Herald Sun
Thugine Legend, Jonathon Grieves-Smith and MSO

The work is subtle, melodically interesting, using its main solo instruments
(cor anglais and trumpet) with discretion and a clear sense of their potential. What impressed me most was that the brief piece works by understatement, rather than by bludgeoning the listener with over-emphatic colour.

Clive O'Connell - The Age
Thugine Legend, Jonathon Grieves-Smith and MSO

Andrew Batterham's The End of All Journeys... maintains accessibility
although it works hard to convey its cross-fusion statements, employing a muted version of techno and dance music rather than belabouring the audience with mindless repetition and an inexorable, inflexible beat.
The piece reminded me overwhelmingly of film music, particularly in its climatic stages and specifically of Ennio Morricone.

Clive O'Connell - The Age
The End of All Journeys, Richard Mills and MSO