" [...] Intoxicating-clung scales over a furious bass, a rhythmically hammering left hand, single tone scales and violently seized chords with that rights of the first part quite reminding of Free Jazz. Then it becomes elegisch: from minimum clay/tone material a small melody rears up and sinks down again. Finally the furious finale: nearly endlessly repeated tones in the treble underlaid by rhythmically powerful, complex, interwoven patterns. [...] "

" [...] Rauschhafte Skalen über wütendem Bass, eine rhythmisch hämmernde Linke, Einzelton-Tonleitern und heftig gegriffene Akkorde mit der Rechten des ersten Teils erinnern durchaus an den Free Jazz. Dann wird es elegisch: Aus minimalem Ton-Material bäumt sich eine kleine Melodie auf und sinkt wieder herab. Endlich das furiose Finale: Fast endlos repetierte Töne im Diskant scheinen die Arbeit des Klavierstimmers zu kopieren, unterlegt von rhythmisch-kraftvollen, komplex verwobenen Mustern. [...] "

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" [...] a true firework of youth and strength: three pieces of the young composer Patricio da Silvia (Austrian premiere). Percussive rhythms and repetitions (1st piece) followed by soft, almost sensual harmonies and melody sheets (2nd piece) and roaring hammers which reached the limits of the Grand and, due to the powerful leaps between bass and discant and the strong pronounciation of single notes, caused the piano lid to rock dangerously. [...] "

" [...] ein wahres Feuerwerk an Jugend und Kraft: drei Stücke des jungen Komponisten Patricio da Silvia (Österr. Erstaufführung). Perkussive Rhythmen und Repetitionen (1. Stück) gefolgt von leisen, fast sinnlichen Harmonien und Melodiebögen (2. Stück) und dröhnendem Hämmern, das an die Grenzen des Flügels geht und den Deckel – durch die kraftvollen Sprünge zwischen Bass und Diskant und die starke Betonung einzelner Töne - bedrohlich stark zum Wippen bringt (3. Stück). [...] "

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“[...] The final concert, And Beyond, in the second London Festival of American Music [...] , was held at the Warehouse, Waterloo on 13 October, given by the Lontano ensemble under the direction of Odaline de la Martinez.
The seven works in the programme were all very much of a muchness, dominated as it was
by contemporary American academic figures who as a representative body seemed all too
ready to take the attractive, but in creative terms, too easy option of a post-minimalist basis
allied to pretty constant rhythmic fixations. [...]

[...] Patricio da Silva’s Clarinet Quintet was quite another matter; here is a genuine creative voice, his work being full of interest and beguiling invention. [...] the frequent pattern-like rhythmic interests were fascinating. The writing for clarinet was excellent [...] only Patricio da Silva's piece demonstrated the stylistic consistency of a composer who has something to say, certain of his own direction. [...]

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" [...] Den stärksten Jubel gab es für das Werk des Gewinners des Barto-Kompositionspreises 2008, Patricio da Silva, das Barto solo interpretierte. Mal mit Anschlägen wie Donnerhall, dann mit ganz zarten, nuancenreichen Tupfern. [...] "

" [...] The biggest cheer was for the work of the winner of the Barto Prize 2008, Patricio da Silva, which Barto performed solo. Sometimes with a touch like thunder, sometimes with very tender specks. [...] "

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"[...] The second movement plays in a sensual way with sound layers, the two other movements radiate motoric energy. Prokoffiev would have had fun, but Barto, too, was entirely in his element [...]"

" [...] Der zweite Satz spielt auf sinnliche Art mit Klangschichten, die beiden anderen strahlen motorische Energie aus. Prokofieff hätte Spaß gehabt, aber auch Barto war ganz in seinem Element [...] "

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" [... ] It is very kinetic," Barto said. "It's a brilliant piece. The first and third movements are extremely energetic, very sophisticated. The second movement is very beautiful, like a cloud of harmonies. [...]

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