“The symphony starts with the delicate sounds of a harp like the gentle swaying of grass in the breeze. The breeze intensifies and so do the tones of the harp to a degree that is almost surprising. The brass instruments have joined in although only the harp seems to be noticed. More and more instruments join in and divinely beautiful harmonies fill the room. There is somehow something unknown about it. The violins are not playing the melody. It is the usually accompanying instruments changing roles and taking over the lead. The tempo increases, but suddenly a strange kind of calm descends over the audience. How can it be that the violins continue playing? And yet, all light tones seem to have suddenly disappeared. The double bass has taken control of the orchestra! “I would like to be able to convey the scorched, rich ochre sonority found in the voices of Aborigines”, says Andrew Schultz about his work. He has definitely succeeded in doing so. We, the audience, are spell-bound by this music that takes us on a tour through the desert with whispering wind, through rich and fertile areas with birds flapping their wings, to the coast and the roar of the ocean.

Andrew Schultz’ music is filled with emotions and unexpected sounds. The overwhelming warmth of the music becomes even more striking when you have experienced the intellectual character of the composer. These are sounds that open up for his true self, showing his inner self, so warm and sympathetic. Andrew Schultz’ music touches the soul and speaks to the mind.” [Michael Schäfer, Klassisk Pt 66, Denmark.]

“The final work on the program is a single-movement symphony by Andrew Schultz: Symphony No. 2 (Ghosts of Reason), Op. 76.  With some delicate colors and sounds, the work opens with a sense of stillness and yearning (beautifully captured by an English Horn solo).  Horns and brass introduce a rich harmonic pulse that feels a bit restrained, almost otherworldly.  It is a rather captivating effect as the result is almost a shadow of a bygone era.  The music tends to slowly grow in waves with gradually a fuller sound, or focus on a specific section.  A sense of mystery hovers throughout the first quarter of the work to explode at its center in an almost mid-period Sibelian way.  The bigger orchestral moments thus move us into an evolving series of thematic statements that feature some rather beautiful arrival points.  Along the way, Schutlz then brings us back to a much sparser texture, often a single instrumental color, that comments on what we have heard and then often moves us forward into another moment of brilliance.  The music’s dramatic flow creates a rather entrancing effect that culminates in a John Adams-like finale.” [Steve A. Kennedy, A Great Reason for New Orchestral Music, Maestro Steve, 6 June 2018.]