“The expression marking which opens Australian composer Andrew Schultz’ 12 Variations is borrowed from Beethoven’s Op. 109. Mr Schultz translates it as “Song-like, with inner feeling.” 12 Variations is atmospheric, expressive, and personal. Its demand for the exploration of sonorous and expansive piano textures is fully suited to the ambience and palette of Mr Emmerson’s and Mr Lanskey’s partnership. Their performance of this perpetuum mobile of piano texture is one that is commanding, sensitive, hypnotic, and remarkable for its range of textural sonority. And there is an additional accomplishment that must not be underestimated. On learning that Mr Schultz’ writing entails the interweaving of the duettists’ hands, this is a performance I appreciated immensely. Now I’d like to see it as well.” [Sarah Grunstein, “The Inner Line”, MCA Music Forum 8/2, December-January 2002, 40-41]

“Adelaide-born composer Andrew Schultz has impressive credentials, having collaborated at times with George Crumb and Luciano Berio and producing several large-scale works to impressive reviews. But it is his more intimate chamber music which is the focus of a Tall Poppies series and the second volume, Suspended Preludes has just been released. The works cover the 1990s and early part of the millennium and feature a wide sweep of styles, instrumentation and moods… Schultz writes accessible but thought-provoking music, sometimes with a fond backward glance (he’s a great admirer of Bach and uses his Sleepers Wake cantata for the basis of one of his piano pieces). Being a teacher of clarinet that instrument features widely, with Paul Dean joining violinist Michele Walsh and pianist Stephen Emmerson in the exciting Stick Dance. Barcarole is a fine short piece for piano and Emmerson is joined by Bernard Lanskey for 12 Variations, one of the standout tracks.”  [Steve Moffatt, The Glebe, 18 September 2008]