Recording: Cheney, Harrison, Hindson & Mac, Lang, Stanhope / Adelaide Wind Orchestra
"There are some quite extreme contrasts in style presented in this thoughtfully collated program, but what each work shares is a careful interest in texture, layering, and the sonic possibilities inherent in this group of wind instruments."
"It’s no small achievement that these elements are brought together in such unified whole, at least some of the credit for which must go to Principal Conductor Bryan Griffiths, who runs a tight ship and keeps proceedings sharp and punchy. The recording is fine: clear, warm, with excellent clarity and balance between instruments, whose players sound like they’re having a ball."
Limelight Magazine, July 2024
Dvorak, Stravinsky, Bruckner / Adelaide Hills Chamber Players
"Griffiths made a real difference with his presence. His concise, nuanced gestures kept the ensemble focused on the musical line, so that every phrase knew where it was going and nothing felt disconnected."
Limelight Magazine, January 2023
Fogarty, Grainger, Milenko, Edwards / Adelaide Wind Orchestra
"Conductor Bryan Griffiths had eyes and ears firmly set forwards on this occasion. Touched with an unmistakeable rhythmic punch and clarity associated with winds, AWO went that extra mile for top quality tonal finesse and shaping demanded by much classical music."
"Fogarty’s 'Three Landscapes' didn’t frighten any horses with its clearly evocative language, its bustling first movement, rapt second and energetic third movements. And its workmanship was of a high order enabling AWO to shine and listeners to engage immediately. This was traditional wind orchestra music at its best."
The Advertiser, November 2019
Bernstein, Vaughan Williams, Ives / Adelaide Youth Wind Orchestra
"The gala also featured the debut performances of AdYO’s newest ensemble, the Adelaide Youth Wind Orchestra conducted by the up-and-coming Bryan Griffiths. A recent graduate of the Elder Conservatorium, Griffiths proposed the establishment of the new group and navigated the tricky waters of Bernstein’s candide overture with aplomb. And Vaughan-Williams’ English Folk Song Suite was an inspired bit of programming, with its delicious tunes. The trombones in the marches were wonderful!"
The Advertiser, September 2014
Tveitt, Sallinen, Colgrass / Adelaide Wind Orchestra
"Finnish composer Geirr Tveitt’s ‘Sinfonia di Soffiatori’ was a sometime rambling work in three movements which the AWO handled with considerable skill, as in fact they did with the entire programme. Playing more like an orchestra than a band, they displayed a good command of the challenges set before them. The opening horn obligato was played with real confidence, while the somewhat violent time changes of the third movement were executed with confidence, thanks in no small measure to the consummate skills of conductor Bryan Griffiths, whose beat patterns were always clear and concise."
Radio 5mbs 99.9FM Adelaide, May 2019
Williams, Grainger, Hindson & Mac, Butterley / Adelaide Wind Orchestra
"Griffiths appeared to have an affinity for Natalie William’s Pendulum, which is a wonderfully optimistic composition with a rich orchestration. He ensured that every musical idea sounded fresh, and the repetitive rhythmic structure was never boring. The clarinets were superb."
"Matthew Hindson and Paul Mac’s Requiem for a City is a fabulous composition that surely has a long and bright future. Griffiths and the AWO handled the syncopated dance-like rhythms with grace and precision."
The Barefoot Review, July 2016
Muhl, Higdon, Fogarty / Adelaide Wind Orchestra
"The Adelaide Wind Orchestra is a musical gem on the Adelaide art music landscape, and they will soon be playing on the world stage at the prestigious International Conference of the World Association of Symphonic Bands and Ensembles to be held in South Korea in July 2024. In fact, the Adelaide Wind Orchestra is one of only a few ensembles world-wide to be invited to perform. Yes, the Adelaide Wind Orchestra is that good, and their recent concert – entitled Smoke and Mirrors (named after the opening piece of the concert) – demonstrated why they are held in such high regard internationally."
The Barefoot Review, November 2023