“Andrew Schultz’s Barren Grounds (1988) . . . is far from barren. Its two movements are utterly contrasted: the first is a kind of mosaic passacaglia while the second, which was inspired by Paul Klee’s Twittering Machine, is mercurial in its changes of mood and texture.” [John Carmody, Sun Herald]

“The piece as a whole seems to me music of exceptionally high originality and abundant invention. Movement 1 is uncomfortable and at times terrifying in the way in which it piles on thought after thought; Movement 2 is a continual congeries of strange sonorities, musical events in unwonted juxtapositions with a disconcerting way of repeating themselves as if searching for some sort of release. The music proclaims absolutely the fecundity of sight inspiring sound, through feeling.” [Peter Platt, Sounds Australian]

“The first passacaglia movement featured a web of instrumental fragments which made up a multi-textured/timbred line. Some interesting sounds resulted, with surges of dissonance heightening a sense of drama. The second movement, ejaculatory in character, was rhythmically complex and technically taxing. The work was well realised by Perihelion, coming closest to the meaning of their name – music near the sun.” [ John Noble, The Courier Mail, 31 October 1988]