"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."
Sacremento 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