“Particularly memorable [was]… the murmuring of (spoken) voices under a violin solo in Lindquist’s “I Dream’d in a Dream.”
—Christopher Hyde, The Portland Press Herald

The Portland Press Herald
Tuesday, June 18, 2002
By CHRISTOPHER HYDE

… “Into the Infinite Air,” which opens with “Invictus,” is a seven-piece oratorio commissioned by the Gay Men’s Chorus from seven composers, most of whom have been associated with the chorus over its 10-year history. They include Small, Mark Carlson, Eric Lane Barnes, Elaine H. Broad, Ellen Lindquist and Bruce Fithian, working with texts from Walt Whitman, John F. Kennedy and Dawna Markova, most of which have the bracing, unsentimental quality of Henley’s verse.

The musical settings hold together remarkably well, and are even more unified by transitional passages composed by artistic director Miguel Felipe. These passages have a driving, repetitive rhythm, a la Phillip Glass, overlaid with a tenuto violin part, played brilliantly by Dimmick.

Particularly memorable were the solo by J. Timothy Bate in Carlson’s “The Enemy of Truth,” the complex four-part harmony and counterpoint of Broad’s “Into the Infinite Air,” and the murmuring of (spoken) voices under a violin solo in Lindquist’s “I Dream’d in a Dream.”