Labwork within the Emotional Improvisation Project (FWF PEEK/AR188), Sporgasse 32 (2016)
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I began to listen to Edith’s Problem and I realised that […] the recording quality is outstanding. Pin-drop clarity. I sat and consumed the whole of the Peters/Rose recording in one sitting, I couldn’t move from the room. After over 50 minutes of music, my immediate response was to put the whole album back through the speakers and listen again. […] This review of Edith’s Problem is shorter than usual because I find myself unable to write anything beyond how absolutely bewitchingly beautiful this music is. […] The shuddering sense of this minimalist piano and the horns has soundtracked me for days, as if I have a new pulse emerging. […] Move forward as if they are conducted to do so, yet there is no baton, no mark on a manuscript, only the empathy, seemingly unproblematic. Shifts changes the position of action. Until this point piano and saxophones have produced an achingly responsive dual recital, now they divide. Not to part, but they are animated, acting out miniature fragments of solo space. […] This is a recording which holds a huge amount of gravitas in a comparatively small space. With a minimum amount of notes, from a single grand piano and two saxophones, all things are possible.
– Steve Day, stevedaywordsandmusic.co.uk (2017)
Artistic Research in Music 