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