His [Rindfleisch’s] contribution to the brass literature is hard to overestimate, and makes for some supremely fun listening [In the Zone]. Large-scale thinking is not foreign to Mr. R., either, as two orchestral works demonstrate: What Vibes! for clarinet and ensemble dances as often as it yells, and Opening Veins is represented in a visceral account by the Slee Sinfonietta (both expert performances are led by the composer). These works, along with a few other surprises, will either introduce you to this unusual and magical world, or deepen your love of his music. Have fun!

WQXR- Q2 Guerilla Composer Portrait August/2014
Presenting CD's In the Zone and Opening Veins

[Conductor] MacPherson shared a few words about “Mille Regretz,” as he paired, almost without pause, a setting by the Renaissance master Josquin des Prez with the contemporary Andrew Rindfleisch. One of the IVE’s two CDs are devoted to the latter’s works, and it was easy to hear why. Following the haunting Josquin setting, Rindlfeisch’s was an inexorably swirling sense of rue, above a “bottomless” foundation from the basses. The text refers to the “thousand regrets” over an abandoned love, and Rindfleisch closes with the tenors numbingly intoning the “days will soon dwindle away.” In attendance, the composer received powerful acknowledgment from the audience.

Madison Magazine August/2014
Review of Isthmus Vocal Ensemble

“Brass ensembles owe CSU composer Andrew Rindfleisch a debt of gratitude, judging by this excellent offering from the Meridian Arts Ensemble [In the Zone]. Stocked with diverse new works for brass combos, the brief but effective disc presents welcome additions to the repertoire. The first half consists of short fanfares employing modern harmonies in old-world forms. The second features arrangements of songs by Foster, Monk and Kollo, and amounts to a pure, nearly dissonance-free pleasure. Grade: A ”


Zachary Lewis, Cleveland Plain Dealer June/2014
Review of Andrew Rindfleisch with Meridian Arts Ensemble
CD Release: In the Zone

“Rindfleisch proves to be an imaginative and unpredictable composer, and these appealing works accordingly cover a diverse stylistic landscape. Often Rindfleisch casts an eye toward the past, as in the title track [In the Zone], which suggests one of Gabrieli’s canzones glimpsed in a fun-house mirror. This entertaining recital concludes with a handful of Rindfleisch’s arrangements of 19th Century standards, including a barbershop-quartet-ish setting of James Thornton’s ‘When You Were Sweet Sixteen‘, a rollicking arrangement of Stephen Foster’s ‘Ring de Banjo‘, and a take on the hymn ‘Abide With Me‘ that infuses the piece with evocatively detailed timbral touches and acid dissonances. Fine performances of fun and witty music.”

James Keller, Santa Fe New Mexican April/2014
Review of Andrew Rindfleisch and Meridian Arts Ensemble
CD Release: In the Zone

“Meridian Arts Ensemble recordings are always a lot of fun to hear, and this one is no exception. This brass quintet plays repertoire ranging from early music to contemporary composers, and even transcriptions of jazz and rock music. In the person of Andrew Rindfleisch, they have an artist who covers all of those categories in one package. The opening work ‘In the Zone‘ consists of two movements, ‘Introitus‘ and ‘Canons‘. Those titles suggest older music, and at first glance, that is what one hears. But quickly enough, the material morphs into a modern sensibility, and with no small amount of subversive glee. The Meridian Arts Ensemble plays with great panache and sounds totally in sync with the sly temperament of Rindfleisch.”

Peter Burwasser, Fanfare March/2014
Review of Andrew Rindfleisch with Meridian Arts Ensemble
CD Release: In the Zone

“The pairing of David Felder and Andrew Rindfleisch on a record is not a particularly unlikely one. Both write in a harmonic style that is restless and unstable, but not prohibitively dissonant, allowing for memorable lines to take shape. A strength of both composers is their inventive use of sound colors available to them, supplied by the Slee Sinfonietta. Rindfleisch uses the upper register of the accordion in Opening Veins in a way that makes it sound more like the Japanese sho.”

“What is revealed in Opening Veins is an anxiety and nervous energy that drives loud, brilliant chords of brass and woodwinds, followed by often delicate answers by droning strings and the accordion. There is volatility and an almost Stravinsky-like aggression filtered through a set of sounds more likely associated with someone like Varese, but Rindfleisch’s music is certainly his own.”


American Record Guide February/2014
Review of Andrew Rindfleisch/David Felder with Slee Sinfonietta
CD Release: Opening Veins

“The program kicks off with a zany take on Renaissance canzone, In the Zone (from which the album takes its title). This piece starts off as expert pastiche and rapidly moves into a far more modernist harmonic language without losing the initial celebratory feel. The playing and recording are simply stunning both in the first movement (Introitus) and the joyful, buoyant second (Canons).”

Four Fanfares for Two Trumpets are wide ranging and maintain interest throughout, particularly in such a fantastic performance as this.”

Colin Clarke, Fanfare January/2014
Review of Andrew Rindfleisch and Meridian Arts Ensemble
CD Release: In the Zone

“Andrew Rindfleisch’s 1994 ‘Tears‘, a solo flute work that- as the title suggests- is an intense and highly expressive lamentation, with much musical weeping and shrieking punctuated with gasping breaths.”

Stephen Brooks, Washington Post March/2013
Review of the Verge Ensemble at the Corcoran Gallery

“Unorthodox techniques and evocative effects also came into play in the visceral poetry of Andrew Rindfleisch’s sublimely penumbral Night Singing.”

New York Times 6/1/2011
Review of Zeitgeist at The Stone

“Andrew Rindfleisch’s Anthem sets Psalm 130, but as a gentle blur, woven from back-and-forth two-note figures, rocked in the cradle of the deep. [Betsy] Burleigh’s conducting was measured, tempi tending toward circumscribed steadiness. The chorus was superbly prepared, impressively secure in the unaccompanied repertoire, especially fine in Rindfleisch’s controlled cirrus…”

Boston Globe 6/7/2011
Review of Chorus Pro Musica

“…shimmering, sustained Debussy-like harmonies…the ending was stunning on the text, “Amen:” the altos sang a long sustained pitch, then taken over by the sopranos, as if one voice (even though a different color), using circular breathing. Such a simple, unusual, and successful device!”

Boston Music Intelligencer 6/6/2011
Review of Chorus Pro Musica performing “Anthem”

“Rindfleisch shows his mastery of counterpoint and an ability to mix arresting Renaissance and contemporary ideas in In the Zone, a two-movement brass quintet full of delicious surprises. “

Cleveland Plain Dealer 4/12/2011
Review of Meridian Arts Ensemble

“Surrealist jamming is on the menu with the insane Improvisation Situation. It is a verbal tour de force, with Rindfleisch’s own vocals using scat and other techniques to full effect.”

“There is a lot to like about Rindfleisch’s music. Despite the avant-garde edginess, things are tempered by the playfulness and wit on display. Sample the accessibly melodic and haunting Bach Dreams, then the spiky laughter of Salt Lick, and you’ll understand Rindfleisch’s insatiable curiosity…”

“Rindfleisch’s For Clarinet Alone [is] a haunting, mournful piece. Deliberately over-miked, it is a forensic look at the sheer expressive quality of the instrument. What strikes me about this nocturne, and it is a testament to [Pat] O’Keefe’s playing, is how vocal the instrument sounds, like an extension of the human throat. It is a respectful, solemn way to end this fascinating [compact disc] recital.”

Barnaby Rayfield, Fanfare March/2011
Review of Andrew Rindfleisch with Zeitgeist
CD Release: Night Singing

“The performances are captivating and engrossing, and the music is always engaging and interesting, direct and clear.”

“The third movement [of Night Singing], Bach Dreams, is an exquisite adagio for clarinet, with discreet use of percussion and piano figures creating a lilting accompaniment.”

Jeremy Marchant, Fanfare March/2011
Review of Andrew Rindfleisch with Zeitgeist
CD Release: Night Singing

“Rindfleisch possesses keen musical instincts, and the cohesion and coherence across these varied works and approaches is impressive. There are moments of humor and also moments of deep expressivity (the truly lovely movement “Bach Dreams” from Night Singing). “

Carson Cooman, Fanfare March/2011
Review of Andrew Rindfleisch with Zeitgeist
CD release: Night Singing

“A stroke of genius and audacity worth two thumbs up.”

Francois Couture of Monsieur Delire 11/08/10
Review of Andrew Rindfleisch with Zeitgeist
CD Release: Night Singing

“From the fantastically silly “Improvisation Situation” to the elegant, soulful “Night Singing,” this engaging collection of chamber music by Andrew Rindfleisch runs the gamut from the freeform to the carefully written out. “For Clarinet Alone” is an absorbing antiphonal experience, while “Nine Little Improvisations” offers amusements such as “Palin’s Brain,” five seconds of random squawking.”

Cleveland Plain Dealer 10/31/10
Review of Andrew Rindfleisch with Zeitgeist
CD release: Night Singing

“Andrew Rindfleisch’s delicate and expressive “Kaddish,” was commissioned by Chorus Pro Musica [and performed] with nuance and precision (under Betsy Burleigh’s direction). The a capella prayer made measured use of dissonance amidst unisons and pure consonances. Simple, direct and highly effective. “

Boston Music Intelligencer 3/18/10
Review of Chorus Pro Musica

“Counterpoint and polyphony were masterfully married to music that conjured the Renaissance, yet sounded powerfully modern at the same time.”

Sacramento Bee 11/9/09
Review of the Meridian Arts Ensemble performing "In the Zone"

“Commissioned by the Mendelssohn Choir to celebrate its 100th anniversary, Rindfleisch’s “Anthem” struck a reflective chord. Opening statements created a hauntingly beautiful beginning to the introspective work. Concurrent with the psalm’s ending “Amen,” Rindfleisch brought the opening back in the upper voices. As this moment faded away into an almost inaudible pianissimo, the circular connection between beginning and ending was made artfully clear. “

Pittsburgh Post Gazette 5/19/09
Review of the Mendelssohn Choir

“[Opening Veins is ] a gripping journey. Rindfleisch has a whale of a time teasing the listener with uproarious sonic gestures and rhythmic vivacity. The performance, led by the composer, was a thriller.”

Cleveland Plain Dealer 5/7/08
Review of the Slee Sinfonietta

“A gorgeous Rindfleisch encore, Veni Sancte Spiritus, found the choir reveling in the score’s bell-like statements and gentle dissonances.”

Cleveland Plain Dealer 3/19/08
Review of the San Antonio Chamber Choir

“A refreshingly wide range of both style and subject, often juxtaposing expressive dissonances with archaic imitative textures, but equally open to rich chordal writing.”

Fanfare April/07
Review of Isthmus Vocal Ensemble
CD release: Choral Music of Andrew Rindfleisch

“Andrew Rindfleisch’s hauntingly beautiful choral music establishes the play as a redemptive journey.”

Curtain Up 2/10/07
Review of Andrew Rindfleisch's choral music in the
off-Broadway production of "Uncle" by Dean Gray

“Commissioned was Andrew Rindfleisch’s Graue Liebesschlangen (Gray Love-snakes), set to an erotic poem by Ranier Maria Rilke. The composer translated the text into vivdly effective musical imagery. The chorus seemed fully comfortable with Rindfleisch’s rich and aptly serpentine harmonies that meandered low on the ground, and in the frantic hopping that suggested movement across hot stones.”

San Antonio Express-News 9/27/05
Review of San Antonio Chamber Choir

“One short listen wasn’t enough to penetrate all the glories that may lie within Andrew Rindfleisch’s Two Pieces for Violin and Piano. As the work dissipates its early energy, a calm and security emerged with the exposed, tender intervals that form the basis of the violin itself. The piece has a powerful inner direction, as a result, which reveals itself slowly and with grace.”

San Francisco Classical Voice 2/7/05
Review of Left Coast Ensemble Concert

“The major work on the program was the world premiere of Night Singing by Andrew Rindfleisch. This four-movement tone poem on nocturnal states of being moves from the raucous dissonance of hyper-anxiety through the chaotic energy of inspired creativity to a mood of eerie contemplation, full of gentle melody. The final movement exquisitely captures the haunting serenity of loneliness.”

Minneapolis Star Tribune 11/16/04
Review of Zeitgeist Concert

Andrew Rindfleisch’s Two Pieces for Violin and Piano fared well in the hands of Daniella Strasfogel and Nick Underhill. The melancholy slow movement made me forget to take notes, it carried me along so effortlessly.”

Akron Beacon Journal 4/14/03
Review of New American Arts Festival

“Andrew Rindfleisch’s What Vibes! was an exuberant work with a strongly defined tonal flavor, full of quick sleight-of-hand shifts of tempo and texture, bluesy clarinet runs, festive chimes, and a lively infectious jocularity.”

San Francisco Classical Voice 5/21/01
Review of Earplay Concert

“[The Light Fantastic] is a fresh and humorous showpiece.”

Cleveland Plain Dealer 3/28/01

“Rindfleisch offers grand splashes of instrumental color in his Circus Music, which comprises 11 minutes of animated, whimsical and noisy sounds that tip hats to Respighi and Richard Strauss. Yet the piece has a cheeky and affectionate personality all its own. He sets things in whirlwind motion with fanfares, bell chimes and all sorts of eruptive flourishes. The narrative steps back for an episode of menacing quiet before tearing back into the energetic clatter of the opening and ending with a blaze of tonal radiance.”

Cleveland Plain Dealer 11/17/99

“Written as a dance, Rindfleisch’s gripping solo flute piece Tears, could easily pass as an operatic scene.”

Boston Globe 11/2/98
Review of Phantom Arts Concert

“Andrew Rindfleisch wrote Tears, for solo flute, as accompaniment for a solo dancer. He incorporates into this attractive, effective piece the sound of the exaggerated in-drawn breath of the player. Quiet, almost Japanese-sounding passages and emotionally edgy, frenetic gestures occur side-by side. The whole is, however, cohesive, structured in two large, more or less equal parts, with a correspondence between playing style and melodic shape providing internal formal solidity.”

Fanfare Nov./Dec. 1998
Review of SCI Capstone Records Recording

“Andrew Rindfleisch’s Piano Trio was driven, cogent, full of soul, altogether riveting.”

Boston Globe 1/30/96
Review of Phantom Arts Concert

“A striking piece, Tears for solo flute, gave [a dancer] room to explore intense emotions that accompany tears. The flute used not only gentle breath tones, but harsh sounds in addition to gasps and moans. The effect was startling.”

Marshfield New Herald 5/16/94
Review of Music/Dance Collaborative

“Andrew Rindfleisch’s Fanatical Dances was dominated by periodic barrages of percussion, proceeding with waves of energy…”

Buffalo News 6/9/94
Review of June in Buffalo

“This reviewer’s seat-of-the-pants intuition is that here is a piece (Piano Trio) — and a composer- he wanted to hear again.”

Boston Globe 6/8/93
Review of Underground Composers Concert

“The program began with Andrew Rindfleisch’s often obsessive and hyperkinetic Fanatical Dances, conducted by Rand Steiger and played by the seven member band with reliable panache.”

Los Angeles Times 1/15/93
Review of California EAR Unit Concert

“Andrew Rindfleisch set Shakespeare’s Passionate Pilgrim (Sweet Rose Fair Flower) to music. It was wistful and lovely, yet modern and skillful.”

Jamestown Post-Journal 3/12/91
Review of Chautauqua Chamber Singers