Daniel Asia conducted (the Endymion Ensemble, Tate Gallery, London) with prodigious perception, shaping Varese's Octandre into something wonderfully articulate and expressive. The group's blend of poise and power was formidable (and) the playing remained exemplary throughout the evening.

Under Asia's baton, the ensemble (San Francisco Contemporary Music Players) gave a strongly etched performance. In fact, the evening provided the consistently skillful performances for which this group can be relied on. Asia conducted with a precision but also a measure of freedom, and the instrumentalists rose capably to their tasks.

Asia conducted the complex goings-on (concert of the San Francisco Contemporary Music Players) with a steady hand, freeing his players to tackle their assignments with individual insight and verve.

Takemitsu's characteristically limpid Water Ways opened the programme, conducted by Daniel Asia and sensitively played, with its shimmering, stereophonic and microtonal harps sounding at times like a huge Voix celeste.

Takemitsu's Water Ways, directed by Daniel Asia, could hardly fail to give pleasure with its music for Messiaen's end-of-time quartet discovered through splashing harps and vibraphones.

Daniel Asia conducted the Takemitsu with tact and care.

(Asia) offered a strong and well organized account of Varese's evergreen and brilliantly effective Octandre.

There was also a sprightly, well drilled and well judged performance of George Benjamin's Octet under the American conductor Daniel Asia.

The Octet was conducted with care and well judged pacing by Daniel Asia.