Greg Sandow, The Wall Street Journal:
Andrew Smith (…) does something almost unbelievable – he gives us pieces that unmistakably use modern
harmonies, but, like the medieval music, sound impersonal; despite its intensity, his work seems free of any
postmedieval striving for personal expression.

Elaine Schmidt, Milwaukee Journal Sentinel:
Built on Latin texts, the pieces are strongly rooted in the traditions of early church music. One in particular,
"Regina Caeli," ventures into gorgeous, colorful harmonies that are surprising in the context of the early music,
but are still logical, ear-catching illuminations of the text.

Christian Carey, Copperpress:
Andrew Smith’s compositions were quite affecting as well, and were warmly received by the audience.
His Ave Maria creates poignant polytonal harmonies, set against a lovely soaring melody. Regina Caeli
is more overtly chant-inspired, wending its way through an attractively spare, somewhat pensive musical terrain.

Anne Midgette, New York Times:
Andrew Smith was wonderfully successful in introducing a sophisticated note of uncertainty to the harmonies
of his ”Ave Maria.”

David Vernier, Classicstoday.com:
Among the highlights were Andrew Smith’s dazzlingly colorful Ave Maria (written in 2000)…

Robert Levine, Amazon.com (editorial review):
…and Andrew Smith offers an "Ave Maria" and "Regina Caeli" which are distinctly modern
but simply beautiful--and wonderfully pious.

Adam Gilbert, San Francisco Classical Voice:
…nothing highlighted their pristine technique better than their unison singing in Andrew Smith’s
setting of the Regina caeli. Smith’s Ave Maria conjures chant from a parallel universe, one in which
only dissonances are sweet.

Christian Carey, Copper Press:
The trio also sang three pieces by English/Norwegian composer Andrew Smith:
"Ave Maria," "Regina Caeli," and "Ave Maris Stella." These combined attractive melodies,
strongly gestural rhythms, and deliciously pungent harmonies.

 

Andrew Smith © 2006