Hebridean psalm singing and chaos theory, Jorge Luis Borges and the harmonic overtone series. Unlikely bedfellows, but Martin Suckling fuses these influences and more into his engrossing, haunting and self-assured storm, rose, tiger. The Glasgow-born composer has been earmarked as an emerging talent; this latest work, written for the Scottish Chamber Orchestra, confirms the distinctness of his voice. It couples fierce intellect with the musical sensibility of a fine violinist, and offers a generous hand to listeners by keeping earthy hooks at the core of its clever tricks. The final resounding passacaglia strays toward filmic, but weird micro-tuning and fuzzy layering keep us on our toes.
— Kate Molleson