Premiere of ‘Mental Radio Machine[Philharmonie du Luxembourg, United Instruments of Lucilin and IRCAM staff]

«A shiny, flamboyant, syncretic work that focuses as much on the writing itself as on the prior arrangement in the laboratory to achieve an amazing mix, especially explosive!»

Luxemburger Wort (12 Mai 2019)

​​​Premiere of ‘Radio Bass[Biennale di Venezia, Charlote Testu – double bass]

«The works all relied heavily on electronics, but the most effective was Radio Bass by the Brazilian composer Aurélio Edler-Copes commissioned by the Biennale. In 8 short movements Edler-Copes leads us through an amazing sound world in which an extremely low computerized voice competes with babblings, shouts, and whisperings by Testu.»

I Care If  You Listen (10th October 2018)

​​​​​​​Premiere of ‘Presence [Wigmore Hall, Ensemble Intercontemporain]

«Composer Aurélio Edler-Copes made his ‘Presence’ felt with a new work that held its own alongside Debussy and Bartók»

«The novelty came from Aurélio Edler-Copes.His 15-minute piece for two pianos and percussion, Presence, borrows some of its musical processes from sound recording and the way in which tape is manipulated. It’s attractive, vividly heard music that’s never dull for a moment. It certainly held its own alongside Bartók’s Sonata for Two Pianos and Percussion.»

The Guardian (23rd February 2016)

«The new work was Edler-Copes’ Presence for two pianos and two percussions. Written last year to a commission from Ensemble Intercontemporain and the Wigmore Hall, it takes some of its inspiration from sound recording and playback techniques, including pause, repeat, loop, fast forward and rewind. It lasted around 15 minutes and proved a surprisingly attractive work.»

MusicOMH (24th February 2016)

Cd IN C+50

IN C+50 week’s selected album by the journal Le Monde

«The result is extremely rich technically, expressively and aesthetically for Terry Riley's famous In C (1964). Realized with an electric guitar and "17 spatialized virtual delays", the version recorded by Edler-Copes gives thanks to all the implications of the fetish partition of minimalism.»

Le monde (6th October 2017)

« L’ovni de la guitare »

«Les guitares d’Edler-Copes on beau avoir six cordes, on jurerait en entendre des centaines. Cordes sympathiques certes, mais avant tout hypnotiques. (…) Avec ce projet ‘do-tesque’, Aurélio Edler-Copes ne propose ni plus ni moins qu’un retour vers le futur.»

Guitarist & Bass (May 2018)

«Une profusion dans le détail des entrelacs qui forment une houle géante et jubilatoire, auprès de laquelle le Steve Reich d’Electric Counterpoint et le Richard Pinhas d’Électronique Guérilla feraient figures d’enfants sages, s’ils n’étaient tous deux les fils spirituels de Riley. En prime, la profondeur céleste de In Resonance, signée Edler-Copes, montre que le musicien a plus d’une corde… à sa guitare.»

Musikzen (16th March 2018)

«Aurélio Edler-Copes gives us something new, drawing all the sounds cleanly and clearly from an electric guitar. No less important than the source is the personnel, the fact that everything here is being created by a single musician. (…) What we hear, as we are drawn through the piece, is a perfect union of live and electronically reproduced sound, of the human and the digital.»


Paul Griffiths 
(Music Critic - The Times, The New Yorker, The NY Times)

​​​French premiere of ‘Como el aire [Philharmonie de Paris, Ensemble Intercontemporain]

«Como el aire d’Aurélio Edler-Copes, une fascinante étude sur le transitoire (le relais timbrique entre l’archet frottant la note du vibraphone, le piccolo et l’accordéon). Une musique qui vit, respire, en même temps qu’un condensé d’énergie subtilement dosé par les musiciens de l’Ensemble intercontemporain.» (12nd December 2015)


«Como el aire (2007) convoque un ensemble atypique (harpe, accordéon, flûte, clarinette, alto, violoncelle) disposé symétriquement autour de la percussion. Très séduisante, la pièce aux allures spectrales déploie un éventail spectaculaire de couleurs dont on perçoit toutes les métamorphoses, jusqu’à la raréfaction extrême de la matière sonore.»

ResMusica (9th December 2015)