The music journalist Jari Kallio praised the piece as "one of [Grime's] most compelling scores" and predicted that "the concerto is destined to become a repertory item."[2] Fellow music journalist Colin Anderson similarly said that the work "makes an instant impression through energy and attack," describing it as "music that also holds the attention rewardingly."[3] Chris King of The St. Louis American also praised the concerto, writing, "The soloist almost never rested and almost always played at a feverish pitch. Grime wrote only scraps of melody for the other instruments; the brass section played such short lines it was almost used for percussion, and when anyone other than the soloist played as many as 12 notes in a line, it felt like an event." He added that "the music is not ugly, only edgy, unsettled, and unsettling" and that it "ended on a gorgeous note of discord."[4]
