The Monstrous Child

“Gavin Higgins’ operatic debut is a triumph”
The Guardian

“A spectacular new opera”
Culture Whisper

The Guardian ★★★★
The Times ★★★★
The Observer ★★★★
The Stage ★★★★
The Arts Desk ★★★★
Bachtrack ★★★★
Planet Hughill ★★★★1/2
The Express ★★★★
Culture Whisper ★★★★
MusicOMH ★★★★
Opera Now (‘the music is highly engaging’)
The London Magazine (‘The Monstrous Child is a daring and exciting new opera’)

Dark Arteries

“Music of such ingenuity, flair and skill”

The Stage – 13th May 2015

“Packs a huge emotional punch. Utterly brilliant.”
the Arts Desk – 14 January 2017

“Gavin Higgins’s brass band commission for Mark Baldwin’s Dark Arteries… is an ambitious, deliciously theatrical musical experience that infuses Baldwin’s sober, fatalistic dance with humour, and deserves concert-hall life”
The Spectator – 21 November 2015

“A newly commissioned score by Gavin Higgins full of deep rumbles, driving syncopation and sweet clashing chords.”
The London Evening Standard – 13th May 2015

“Gavin Higgins is a properly orchestral composer, capable of handling multiple texture and harmonic and rhythmic complexity in a way sadly too rare in contemporary dance scores.”
The Arts Desk – 13th May 2015

“Higgins’s music is slow and subtle, and I would really have liked to listen with my eyes shut”
The Arts Desk – 13th May 2015

Dark Arteries is a big, ambitious work that looks impressive and sounds wonderful… the deep, rumbling tones of the brass band set out a musical landscape of the welsh villages and mines so effectively.”
Bachtrack – 14th May 2015

“Gavin Higgins’ strong score is played by the magnificent Tredegar Town Band… the effect is highly emotional in considering the shared griefs, the inevitability of tragedy”
The Financial Times – 14th May 2015

“Higgins’s music will certainly stand on its own as a concert work”
Dancetabs – 15th May 2015

“Genuine emotions throb through Dark Arteries, Gavin Higgins’s bravura brass music plundering the depths of the tubas and high skitterings of cornets”
The Spectator – 23rd May 2015

[Higgins’s score]… which though astringent managed to successfully convey moments of pure beauty, carnality, desperate sorrow and hope. It is a piece that easily convinces of its message and stands alone.
Brass Band World – June 2015 – issue 245

“…the dark, glittering sound pallete of Higgins’s score”
The Guardian – 13th May 2015

Dark Arteries is driven by its music…Higgins’ layers of chiming, rumbling sound”
The Independent – 13th May 2015



“Gavin Higgins: a talent to watch, not least for the way he handles large orchestral forces with impressive clarity and purpose.”
New York Times – 15th September 2014

[Velocity…] hit the spot exactly. It was fast, exciting, brilliantly scored, and had one high point of gorgeous sonorousness where the organ could let rip”
The Telegraph – 14th September 2014

Velocity… was excitable, insistent and did not outstay its welcome”
London Evening Standard – 15th September 2014

“Higgins’s use of varied colours is remarkably skilful; his writing accomplished, stylish and gifted”
Classical Source – 13th September 2014

Der Aufstand

“…even better, Gavin Higgins’s Der Aufstand, a boldly imaginative response to last summer’s riots, powerfully conveyed by the wind orchestra and James Gourlay”
The Times – 13th August

“The NYWO introduced Gavin Higgins’s Der Aufstand, a nicely imagined and controlled depiction of last summer’s British riots”
The Guardian – 13th August 2012

“…whilst Higgins, not for the first time, showed himself to be a composer of vivid imagination and expressive power”
MusicWeb International – 16th August 2012

“Highlights were very definitely the NYWO’s version of Brixtonite Gavin Higgins’ monumental response to the 2011 riots’
The Arts Desk – 13th August 2012


What Wild Ecstasy

“The deliberately rebarbative dissonance of Gavin Higgins’s score mark it more vividly still a cousin of a ballet exactly one year younger than Faune,
The Rite of Spring.”
The Telegraph – 16th May 2012

“Gavin Higgins’s blasting, warping score drives the choreography into an enjoyably wild kaleidoscope of apache dances, tango and ballet”
The Guardian – 16th May 2012

“Gavin Higgins’s score … is a riot of rutting strings and rude brass”
The Telegraph – 22nd May 2012

What Wild Ecstasy has a fine and rumbustious score by Gavin Higgins”
The Financial Times – May 16th 2012

“The Rambert Dancers buzzed around to Gavin Higgins’ Caustic score”
Dancing Review – May 16th 

“…Baldwin’s quirky and off-beat choreography was matched every step of the way by Gavin Higgins’s score”
Kelly Apter – The Scotsman

“Higgins’s music has streaks of menace as well as mischief, and Baldwin’s choreography unerringly matches both strands’
Mary Brennan – Herald Scotland

Other Works

“…overshadowing them all was the concert’s final work… Gavin Higgins’ ‘the Ruins of Detroit… Higgins’s textures were often strikingly vivid”

5against4 – July 7th 2014

“There’s a great deal of uneasy truth to be heard in Three Broken Love Songs...”
5:4 – 15th February 2014

[Destroy, Trample, as Swiftly as She] “It’s terrific music. Not just terrific brass music.”
the Arts Desk – 14 January 2017

[Destroy, Trample, as Swiftly as She] “Not since hearing John McCabe’s Cloudcatcher Fells for the first time has this writer been so excited about the textural possibilities of the brass band – a door to a new vista has surely been opened by Higgins’s extraordinary work”
Christoper Thomas – Brass Band World Magazine, February 2012 – issue 211, pg 23