Belinda Reynolds - Press
"During Reynolds’s Share, with its limpid flute melody floating over gently pulsing piano chords, one felt oneself actually relaxing physically—no more straining to hear the flute! A feeling of tenderness and nostalgia suffused the room as the pianist played a long diminuendo and the flutist mused in her lowest register."
--David Wright, NEW YORK CLASSICAL REVIEW
“[Reynolds’ music] stands out…for its elegant polish, the persuasive pacing of its metamorphosis, the complete absence of false steps or miscalculations.”
--Kyle Gann, CHAMBER MUSIC MAGAZINE
“The seven pieces comprising [the CD] COVER are [in] that rare lush gray area where the cerebral and the naturally simply beautiful not only coexist, but dance around as lovers do.”
--Primetime A&E
“…Reynolds's works strategically use receptive, often intricate rhythmic structures to elicit a wide ran of emotional responses, from disorientation and melancholy to coy delight.”
--Molly Sheridan, Time Out New York
“It is this flair for personification that allows Belinda Reynolds to surpass all of the minimalist imitators and enter a class of her own
-- Carol Minor Sequenza 21
“These composers are not slumming. Belinda Reynolds’ Weave was as rigorously structured as a Bach invention…”
--Wynne Delacoma, Chicago Sun-Times
“There should be a better term than "post-minimalist" for this music, which absorbs the repetitive interlocking patterns and harmonic simplicity of Steve Reich or Philip Glass into a varied design, rich in contrast.
--Russell Johnston, The Nashville Music Scene
“California composer Belinda Reynolds's "Turns"…proved quite charismatic with its singing lines and warm texture.”
--Jim Lowe Times Argus
“Turning classical music on its edge might be a good definition for the labels used to categorize Reynolds's works.”
--Olivia Boler, Noe Valley Voice
“Another particularly beautiful work was California composer Belinda Reynolds's "Dust". [written in memorial of 9/11]. The lament, made striking by its quiet dissonance, is austere and forlorn.”
--Jim Lowe, Times Argus
“These duets are reflective of contemporary musical styles and at the same time are pedagogical in nature. They are playful and creative.”
--Caroline Fraser, American Suzuki Journal
“Alto flute and piano intertwine…as diaphanous as chiffon and as gently floating in Belinda Reynolds’ SHARE.”
--Carol Furtwangler, The Post and Courier
“Belinda Reynolds’ opener, [CIRCA], is a sensuous textural experiment…”
--Josef Woodard, Los Angeles Times
“Reynold’s PLAY for piano and marimba … came along as a welcomed intermezzo relief from the intensities surrounding it.”
--Heuwell Tircuit, San Francisco Classical Voice
“Belinda Reynolds’ beautiful, spirited CIRCA serves as a …manifesto- artful minimalist counterpoint clothed in the transparent textures of Baroque chamber music…”
--Joshua Kosman, The San Francisco Chronicle
“Belinda Reynolds'’ COVER… showed a strong command of ensemble writing and the gradual building of texture. The piece closed with a refreshing and humorous perfect cadence..."
--Ken Durling, San Francisco Classical Voice
“Belinda Reynolds’ 1990 Interference Patterns was a ravishing interlude of soft harmonics with a destination clearly in sight. The piece was an island of contemplation in a sea of busyness.”
--Allan Ulrich, San Francisco Examiner
“Smart, funny…the music draws on minimalism as though it were already a relic for rediscovery…The results are deeply enjoyable.”
--Joshua Kosman, The San Francisco Chronicle
“Multitudinous Verses …made an almost “romantic” impression, with long phrases and great expression…creating miniatures of luring sensuality. How beautiful electronic music can sound!”
--Westfälische Nachrichten
“Reynolds made full use of the character of each instrument, adding touches of both rustic and refined joviality. The end result was some of the most forward music of the evening.”
--Thomas Goss, 20TH CENTURY MUSIC
“The most entertaining essay was Belinda Reynolds’ Over and Out, which diffracted a dance like pattern…through a continual variety of meters and tempos with a convincing sense of direction.”
--Kyle Gann, The Village Voice
Over and Out by Belinda Reynolds featured a kaleidoscopic development of a series of lines and fragments…sort of like a hip ‘Moldau’.”
--Steve Metcalf, The Hartford Courant
“Belinda Reynolds’ 1992 piece, Initiation, was original…For all this aggressive propulsion… the music is strangely calming.”
--Gwendolyn Freed, New Haven Register
“Belinda Reynolds’ Multitudinous Verses’ multilayered harmonies were sensuous and gentle, evocative at times of the gamelan…its mood was poignant and compelling.”
--Rocky Lepin, The Montclarion