Murray McLachlan. International Piano. No. 37 (May/June 2016): 71.
Here is a rare and wonderful phenomenon: memorable contemporary piano music that is original while maintaining a broad debt to traditional tonality…the collection of seven attractive, varied, colourful and accessible (for listener and performer) pieces lasts around 35 minutes and deserves wide currency…Hiscocks has something worth communicating.

Richard Whitehouse. Gramophone. April 2012: 57.
Australian music has really come into its own over the last two decades, with Wendy Hiscocks playing no small part. She studied in Sydney with Peter Sculthorpe, whose evoking of spatial vistas through his instrumental writing is perceptible not least in Shades of the Alhambra (2009)—five movement for clarinet, cello and piano that render quotes from Washington Irving’s writings into an atmospheric whole…Of the other works, Nocturne (2007) is a deceptively rhapsodic translation of verse by Rabrindranath Tagore while Coral Fantasy (1994) elegantly depicts its scenes of marine life within a coral reef against a context of dawn and dusk above the waves. The two vocal items are no less telling in mood: Mother & Child (2000) sets four Tagore poems in a touching evocation of infant wonder and tragedy, whereas Libretto of the Eight Year Old (1999) sets the composer’s recollection of her first trip abroad in a secular cantata recalling such singular works as Barber’s Knoxville and Tippett’s Boyhood’s End.

The performances are as fine as might be expected, given the calibre of the musicians, but a special mention for Rachel Nicholls, whose thoughtful eloquence is at the service of often testing vocal writing…[the balance] between the instruments is unexceptionally fine and the composer’s own booklet-notes are a ready enhancement to listening which is never less than pleasurable.

John York. Piano Magazine.
Wendy Hiscocks is a composer of great finesse, well tuned to the fantasy-world of children, and her works for young pianists ‘Two Pieces for Cordelia’ and ‘Light’ are delightful, exquisite miniatures worthy to stand beside the classic children’s repertoire. She understands and nurtures piano colour, something often neglected or even negated by new composers…For more advanced pianists there is a suite of four pieces ‘The Piper at the Gates of Dawn’ and a searching piano trio called ‘Coral Fantasy’ — I found a lot to savour in this compelling music.

The West Australian (Perth Festival)
Wendy Hiscocks’s ‘Coral Fantasy’, inspired by visits to coral reefs in Hawaii and Australia, inhabits a very different sound world. It’s a delight. In turn restful and turbulent, with brief obeisances to Prokofiev and Shostakovich, and frequent changes of tempo (and pleasingly varied tonal colourings to add interest to the listening experience), Hiscocks’s piece has an unpretentious charm and immediacy.

Pan Magazine
[Hiscocks’s] attractive suite ‘Pastel & Oil’…launched the evening with imaginative flair…The outer pieces, ‘Morning Song’ and the final, lilting ‘Waltz’ drew rich sonorities from the bloc textures, with tonally orientated harmony offset by some colorful dissonance, and aptly ‘pastel shading’ in the delicate, high, melismatic lines for flute and clarinet. Their playful dialogues of trills and skittish gestures in the second piece ‘Scherzo’, formed an engaging contrast with the ‘Nocturne’s’ eloquent rhetorical exchanges amongst the bassoon, oboe and horn.

Andrew Lorenz. Stringendo: Journal of the Australian Strings Association. April 2012, Vol. XXXIV, No. 1: 67.
This is a delightful collection of chamber music (1994-2007) by the Australian composer Wendy Hiscocks. Shades of the Alhambra (clarinet, cello and piano) is a major work of 25′. It is wonderfully imaginative with intimate writing contrasting solo and contrapuntal lines with exotic sounding textures. The Nocturne (violin and piano) is a very fine piece of many moods with moments of beauty and power. The piano trio Coral Fantasy describes a magical world – a ballet of life under the sea. Each work would be a welcome and refreshingly different contribution to a recital program.

Darryl Coote. Victorian Music Teachers’ Association Journal. (2012 Review of Symposium CD)
Hiscocks’s compositional style is individual, dramatically reflective of texts and title, with some elements which, to this reviewer, could be said to have been inspired by Messiaen and Poulenc. The works are all descriptive and attractive, well worthy of inclusion in concert programmes.

Fine performances are offered by soprano Rachel Nicholls, violinist Madeleine Mitchell, cellist Brian Mullan, clarinettist Sarah Thurlow, violinist Philippa Mo and violist Michael Turner. Though not specifically stated, one assumes that the fine piano playing is that of Hiscocks herself. The sound is well-recorded, in a clear but nicely-resonant acoustic. A high-class booklet provides substantial programme notes, written by Hiscocks, serving to elucidate the fascinating programme of works. This disc is definitely recommended listening for those seeking contemporary works which are fresh and attractive.

Mike Smith ‘Review: Pandora’s Box, Weston Studio, Wales Millennium Centre, Cardiff’ appearing in Wales Online on February 21, 2013 after Wendy’s performance of Pandora’s Box for Welsh National Opera on February 20, 2013.
I am sure I am not the only person who found this WNO screening of the glorious 1928 film ‘Pandora’s Box’ added to their appreciation of the company’s current production of Berg’s ‘Lulu’…The 130 minute film is accompanied on the piano deftly by Wendy Hiscocks. Her achievement is at times helping to drive the story while at others disappearing into our subconcious background. The way she segues her playing into the party scene where Alwa is playing a jazzy number on the piano is superb.
(5 out of 5)