"We Slovenes have a new subscription series; and, what is more, a series whose each and every concert, as well as whose overall form, bears witness to the imagination of its creators."
(Gregor Pirš: Beethoven Awoken, DELO, 03.12.1999)

"The concert created real fireworks from the play and interplay of five voices all competing to release more energy with the greatest effect, but all together they are five times better."
(Peter Kušar: Slowind and the New, DNEVNIK, 19.11.1999)

"...even in the theatrical demands... the quintet performed brilliantly; with their masterful artistry they stepped over even the most complicated rhythmic traps and with their sharp wit measured up to the composer in virtuosity."
(Peter Kušar: Slowind and the New, DNEVNIK, 19.11.1999)

"Beethoven's spirit awakened with all of the incumbent might. The members of the Slowind Quintet are masters of the musical breath! In their case, might is not simply a synonym for raw power, but is based on a deep understanding and mastery of timely rhythmic and dynamic changes."
(Gregor Pirš: Beethoven Awoken, DELO, 3.12.1999)

"The third, penultimate concert of the chamber music subscription series organised and realised by the quintet of Philharmonic soloists... was a continuation of Slowind's successful story of how to put together a good musical programme. First there was music. Then came professionalism. Then were: selectivity, innovation, creativity, so the time could be right for pleasure."
(Mirjam Žgavec: Successful Programme, DELO, 24.11.2001)

"Slowind's music making is a delight for the listener. In it one can sense an authorial approach to an authorial poetics. Although in certain compositions it can be questionable, the authorial approach is so strong that it can even make a compositionally unconvincing work sound convincing. The charisma
of everyone on stage even makes poor music more presentable. Slowind's harmonised maturity, in which the story reaches its climax - and I hope not also its end - in itself offers an answer to everyone who asks himself what and how with music. Slowind's dramaturgical talent is an exemplary example of an insightful programme."
(Mirjam Žgavec: Successful Programme, DELO, 24.11.2001)

"Slowind have the ability to convince people that less known or newer music does not bite."
(Jure Dobovišek: Less Known Music Really Does Not Bite, DELO, 04.10.2002)

"The musical highlight of the past weekend in Toronto? Would you believe an evening of contemporary Slovenian wind quintets? Of course you wouldn't. Most Torontonians probably couldn't even point out the location of Slovenia on a map of southern Europe ... The great days of the New York, Dorian and Danzi Wind Quintets may belong to the past, but if ensembles as able as Slowind appear, musically
well-armed, from such seemingly unlikely places as Slovenia, who knows? It may be time for the winds to blow favourably again."
(William Littler: Winds Blow Favourably from Slovenian Quintet, TORONTO STAR, 08.01.2002)

"... all of the musicians surrendered themselves to the Schoenberg with all of their hearts and knowledge, thus it was possible to hear the explicit lines of the individual instruments, which were joined together in a powerful ensemble sound, while in places the musical substance breathed with an unusual musical pulse. It was precisely this liberation of the musicians from the ‘terror' of Schoenberg's musical-virtuoso demands that represented the undreamed-of achievement of the chamber ensemble that we listened to."
(Gregor Pompe: The Concert was Golden, DNEVNIK, 17.10.2003)

"On the stage sat musicians from our main orchestra, but the concert did not have any connection with the colours of their subscription series - blue and orange. It was entirely golden."
(Gregor Pompe: The Concert was Golden, DNEVNIK, 17.10.2003)

"This year, Festival Slowind returned from the hall of the Slovenian Philharmonic to Radio Slovenia's Studio 14, which can also be understood metaphorically in that the programme also changed. It again became "tougher", in the sense of engaging with contemporary sonic material. This is precisely what gives the members of the Slowind Quintet, as the central bearers of the festival, a special status within Slovene musical life: they regularly "nourish" us with music that is linked to the ethic of
uncompromising innovation and concentrated depth."
(Gregor Pompe: The Ethic of Innovation, DNEVNIK, 02.12.2004)

"Slowind concerts are something special, original and diverse. At their autumn festival they offer a well considered programme on a high performance level, with recognised instrumentalists, composers and visionaries of the European sphere and further afield."
(Ingrid Mager: First Rate Tris, DNEVNIK, 07.10.2005)

"All three ensembles share a common high culture of sound... The number of compositions would actually be sufficient for two concerts; to our satisfaction the excellent musicians again and again succeeded in attracting our attention with their playing."
(Friedrich Sprondel: Borderless and Sonorous)

"The Slowind Quintet, which features wind players from the Slovenian Philharmonic, made a rare American appearance on Thursday at the Trinity Church. The Slowind players walked down the aisles of this Lower Manhattan jewel, imitating bird songs on their instruments as they came forward. These avian calls turned out to be the beginning of the piece "Dogodki II" by the contemporary Slovenian composer Lojze Lebič. Once ensconced in his chair, horn player Metod Tomac switched from an
ocarina to the triangle, while flutist Aleš Kacjan played the piccolo, oboist Matej Šarc whistled and imitated the wind, and bassoonist Paolo Calligaris drummed on his instrument with his fingers. Poor Jurij Jenko had nothing to do but play his clarinet."
(Fred Kirshnit, THE NEW YORK SUN, 08.05.2006)

"The Slowind Quintet speak freely through their instruments and the compositions they play and this above all makes them true creative players. Global creative players."
(David Fujino: Composed Music and Composed Musicians, THE LIVE MUSIC REPORT, 05.11.2006)

"In addition to playing the notes, the musicians were jiving, doing hand jive, and jiving with their instruments, dancing around and jiving with words, and all sorts of toys and props. At first I thought they were sort of just having fun, but near the end I started to hear some melancholy strains that had a bluesy sound, and it hit me: they were doing all that jive to chase the blues away. The message was not just musical, but personal and social at the same time. Then, the sonic boom of a low-flying jet
zoomed across the room, came back, boomed us a second time, and the room went black. That was it. That is how the concert finished. With a boom from the Balkans. Wow."
(Stanley Fefferman: Slowind Returns to New Music Concerts, WWW.SHOWTIMEMAGAZINE.CA, 06.11.2006)

"Slowind (fem stjärnor / five stars av fem möjliga / out of five) Alla är lysande solister lika mycket som de tillsammans formar en oerhört snygg och tät ensembleklang. /They are all extraordinary soloists who create an exceptionally beautiful and
rounded ensemble sound... Alla fem är soloblasåre i Sloveniens filharmoniska orkester i Ljubljana och ar excellenta ambassadörer för sina instrument men oboisten Matej Sarcs makalöst snygga spel imponerade litet extra i Hindemiths Kleine Kammermusik. / All of the five players are soloists in the Slovenian Philharmonic Orchestra in Ljubljana and they are exceptional ambassadors for wind instruments. Oboist Matej Šarc in particular made the impression of uniquely beautiful playing in Kleine Kammermusik."
(Anna Lundström - On the concert in the church at Järnboås, 16.2.2007, NERIKES ALLEHANDA, 20.02.2007)

"Konsten att ha kul på jobbet / The art of having fun on the job;
Slowind, en blåsarkvintett från Slovenien. / Slowind, a wind quintet from Slovenia. Slowind som i lite förvanskad översättning blir slö vind. / In a slightly distorted translation, Slowind is a "lazy wind", Och det låter ju inte speciellt upphetsande. / which in itself does not sound too exciting, Men det var precis var det var. / but that is exactly what it was - Upphetsande alltså. / exciting. Så där lagom som gör att man går nöjd och belåten därifrån, från konserten alltså. / It is only right that you should go home satisfied from a concert. En känsla av upprymdhet, på gränsen till eufori infinner sig på vägen hem. / On the way home you are seized by a sense of enthusiasm that borders on euphoria. Smånynnandes på David Bowies monsterhit "Scary Monsters (and Super Creeps)" möter jag en ung flicka som stannat för att tända en cigarett. Hon ser oförstående ut. / I hurry along humming Scary Monsters (and Super Creeps) by David Bowie, and I meet a young girl who has stopped to light a cigarette. Hon ser oförstående ut. / She looks at me emotionlessly, Men så vet hon heller inte vad jag har varit med om. / but she cannot know what has happened to me. Jo, konserten med Slowind var bra. Riktigt bra. Bäst sedan Brodskykvartetten. / Yes, the concert by Slowind was good. Very good. The best after the Brodsky Quartet. Och det handlar om ett förhållningssätt, om attityder, om förmågan att transkribera någonting så opersonligt trivialt som lite trycksvärta på ett linjerat papper till någonting minnesvärt. / When it comes to music it is a matter of attitude, of conduct, of an ability to make something worth remembering from something impersonally trivial... Alla har inte roligt på jobbet. Men Slowind hade det. / Not everyone has a good time on the job. Slowind does. Det smittar av sig. Och hörs. / It is infectious. You can hear it... Det var väl avvägt i både tempo, balansen mellan de olika instrumenten och i det musikaliska uttrycket. / It was well balanced in terms of tempo, the balance between the instruments and in terms of musical expression. Lägg därtill hög precision. Och du har ett recept på ett vinnande koncept. / And if you add to this a high level of precision... you have the recipe for a winning concept.
(Mikael Bengtsson on the concert in Skellefteå, NORRA VÄSTERBOTTEN)

"...contemporary music is still alive and well, as was demonstrated by Slowind's festival; Slovene musical culture, however, is fast asleep - judging by the small audience numbers it has no interest in contemporary music."
(Gregor Pompe: Slovene Musical Culture is in a Deep Sleep, DNEVNIK, 20.10.2007)

"Festival Slowind resounded successfully, brilliantly, but in a limited circle (in the sense of the audience) without the real support of the musical community, with the exception of certain faithful supporters. Our musical reality. Contemporary music - a blackthorn that has been left sleeping. But not by everyone - each year it is awoken by Slowind. I admire their will and I wish them even more of it."
(Jure Dobovišek: Balancing in Time, DELO, 19.10.2007)