Alex Varty (Georgia Straight - Solace)
"Now imagine Kats-Chernin's attitude gone, replaced by shimmering sheets of harmonics and a civilized conversation for violin and cello. That's the volte-face the VSO players were required to make in order to perform local composer Jocelyn Morlock's Solace, and once again the musicians demonstrated their sublime competence.

This piece almost demands an anthropomorphic interpretation, with VSO concertmaster Mark Fewer's violin taking the role of some avian songster, a lark or nightingale, and Zoltan Rozsnyai's cello playing the yearning human heart.

With music this fine, the last-minute addition of Philip Glass's Company proved an unnecessary bonus."

Alex Varty (Georgia Straight, Disquiet)
The second half offered richer fare. Jocelyn Morlock’s Disquiet suggested a capsule history of the Soviet Union: rising in rugged optimism, plunging into deliquescence, then struggling forward again before evaporating—in this case, beautifully.

John Terauds (Toronto Star, Prelude and Fugue)
Released not by CBC Records (to the corporation's shame) but by the Canadian Music Centre, this has to be the most exciting disc of new Canadian music in years. It overflows with invention, and most compositions find that elusive balance between being easy on the ears and being thought-provoking. The association between Gould and J.S. Bach-inspired references to traditional counterpoint and fugal development hold these pieces aloft like a fresh breeze. Gregory Oh gives a superhuman interpretation of André Ristic's keyboard-smashing avalanche of notes; Andrew Burashko and David Swann perform the program's most impressive works, by Jocelyn Morlock and Gary Kulesha, respectively.

Rosemary Phillips (www.quillsquotesandnotes.com, Golden)
"A surprise in the program was the inclusion of a work composed by Jocelyn Morlock specifically for the PBO and this tour. Titled “Golden”, the piece began with percussive taps on the violone and cello, followed by gentle movement of a wooden wind chime and bells as MacRae and members of the violin section of the orchestra whispered, "Ssswim in this water." Soon came the sounds of whispering strings like rippling water and light, and angelic magic as MacRaes voice lifted and soared, harmonizing with Destrubé's gentle violin. While the strings continued their melody MacRae ran her fingers around the rims of two wine glasses creating a hanging tone which resonated above the strings. It was pure magic."

(Jakub Jerzy Omsky, cellist, about Exaudi)
Omsky, assistant professor of cello for WSU and principal cellist for the Wichita Symphony, said it is an honor to present "Exaudi," which is written specifically for cello and choir.

The event, he said, will also serve as the official opening concert for the annual WSU Cello Days, two days of interesting workshops, concerts and masterclasses held in Duerksen Fine Arts Center and Wiedemann Recital Hall.

Morlock, born in 1969 in Manitoba, composed "Exaudi" as a commissioned piece by Vancouver's Musica Intima vocal ensemble. It premiered in 2004 with famous cellist Steven Isserlis, Omsky said. The commission was funded by the Canada Council for the Arts.

" 'Exaudi' is a deeply spiritual piece and beautiful, touching composition for an unusual combination of cello and chorus," said Omsky. "Cello's majestic tone represents the voice of the soul and counterpoint of the prayerful choir line to the Latin text."

(John Keillor, thewholenote.com, regarding my Ravel and Debussy arrangements)
But the most evocative arrangements here, like Ravel’s Le Tombeau de Couperin, were especially arranged for Trio Verlaine by Vancouver composer Jocelyn Morlock, whose approach is edgier and more crystalline than some of the cosier, more lush-sounding renditions.