"Brossé can be counted on for wild cards when conducting the Germanic classics - to him, the great composers are more like colleagues than idols. His views on Beethoven's 5th skewed more toward the classicism from which the symphony came than the Romantic Age it led to. The famous four-note motif wasn't underscored by differentiated tempos. Form framed content. Rarely is the piece played with such clean, non-interruptive lines. One exception was the first-movement oboe solo, played by Geoffrey Deemer with the expanse and detail of a Shakespearean soliloquy."

The Philadelphia Inquirer, May 12, 2015

“Vaughan Williams wrote 70 years ago for the English oboist Eugene Goosens. The composer might not recognize his work now because the oboe, in America, is music richer in sounds and discursive in range. Deemer exemplifies that revolution. His playing was bold, detailed, and shaped to fill a broad dynamic range. He caught the composer’s turn of phrase, made lyrical passages sing with shadings and nuance, and infused the virtuosic passages with color.”

The Philadelphia Inquirer, November 17, 2010

“In the Vaughan Williams, oboist Geoffrey Deemer's lovely singing solos in the final movement were particularly noteworthy."

The Broad Street Review, November 30, 2010

“Deemer, who studied with Richard Woodhams at Curtis, plays with a gorgeous tone ideal for this lush, pastoral and neglected gem.”

Philly.com, November 10, 2010

“The ensemble's orchestral drive essaying deep chamber sonorities and framing opaque solo precision, chief among them the sterling, stoic tone of Geoffrey Deemer’s oboe.

Concertonet.com, September 30, 2012