“Meltzer’s materials are all light and airy bits of diatonic music, but he juxtaposes and synthesizes them in a great many different ways, achieving something like a Stravinskian neoclassicism for the age of Bang On A Can. Meltzer’s approach to form — fragmentary but organic — is very much in line with his European contemporaries, but his nostalgic materials calls to mind both David Lang and very recent Ligeti.”

— American Record Guide

“Meltzer wields a wide range of influences, from highly ornamented 17th century keyboard music to quasi-minimalist ostinatos, with such style and grace that it’s hard to decide whether his music or his ensemble deserves greater commendation.”

— Gramophone

“His music joins a wry literary sensibility with a keen and often poignant instrumental palette to yield music that is both tender and incisive. Most striking… is Meltzer’s harmonic language, which draws on tonal and modal approaches without quite committing to either.”

— San Francisco Chronicle

“… haunting, quirky and continually inventive… a splendid recording of four fascinating chamber and vocal works by Mr. Meltzer.”

— The New York Times

“Harold Meltzer… seems to write pieces of scrupulous craft and exceptional freshness, which makes each seem like an important contribution…. This is the music of a strong voice, mature and focused, but never tripping up on over-seriousness.”

— Fanfare

“”brilliantly crafted yet elusive music that seems at once playful, dangerous, waltzing and jumpy””

— The New York Times