biography

about The Outcasts of Poker Flat:

“This glorious score and relevant and timely story need to be seen and heard."
— Coral Colón-Muñiz, DC Metro Theater Arts, 2016

 

about The Wind:

“A splendid match of music, image”
"Simpson has heightened its impact with a recurrent and unsettling wind theme, music that captures the desolation of the arid countryside, the wildness of cowboy life and the abandon of the dance."
— Joan Reinthaler, The Washington Post

 

about A Crown of Stars:

“…it’s clear that Simpson’s talents may be eclectic, but they are certainly not superficial.”
“his textures are clean, rhythmically exciting and colorful. Simpson has scored the piece economically, calling for only 12 instruments and … using them masterfully.” — Joan Reinthaler, The Washington Post

 

about Too Many Mammas (on Naxos album Hunting of the Snark):

“The best [score] is Andrew Earle Simpson's Too Many Mammas written in a hotsy-totsy jazz style to set the scene in a speakeasy where philandering is on tap along with the booze.”
— Philip Greenfield, American Record Guide

 

about Summer-Night Songs:

“…[Jacqueline] Pollauf and [Noah] Getz… followed with a lighter but lovely piece, Andrew Earle Simpson’s “Summer-Night Songs.” A sort of pastoral nocturne, it’s full of detailed, coloristic effects that unfold as images of a summer sky flow by silently overhead, from dusk to starlight to a golden dawn. It’s atmospheric music, in every sense of the word, and a delight.” — Stephen Brookes, The Washington Post

 

about The Outcasts of Poker Flat (at Capital Fringe Festival, 2009):

"The Outcasts of Poker Flat may be the best Wild West opera you'll ever see... It represents the best of Fringe [Festival]: genre-defying art that challenges audiences to open their minds and break down walls of preconception. Don't miss this one." — Ben Demers, DC Theatre Scene.com, 2012

 

As pianist (on Albany album Still Life):

"Simpson has the awareness and fortitude to make an audience pay attention. He has a naturally fluid technique, and he coaxes an array of colors from the piano, from ear-splitting thunderclaps to tender murmurs." — Patrick Hanudel, American Record Guide

 

about Agamemnon:

“...a shattering impact.” —The Washington Post

 

about The Furies:

“Tragically Good” —The Washington Post

 

“...this opera had an almost mesmerizing Minimalist quality to it, which was appropriate especially for the music of the Furies...other styles creep into the modal melodic mix, like the boogie-woogie bass pattern in the piano during the trial scene...and the sighing bends of the chorus in the eighth scene.” —Charles Downey, ionarts

 

about Flower-Terrible Memories:

“It’s a wonderful piece.” —The Washington Post

 

about the CD Fireflies: Chamber Music by Andrew Earle Simpson
(containing Fireflies; Tesserae, American Gothic Suite)

"Red Cedar Chamber Music has a reputation for creating and promoting quality new works, and the music on this CD is no exception. All three of these works could easily become standard repertoire pieces..." —The Flutist Quarterly

 

about me as silent film composer (on The Harry Langdon Collection: Lost and Found):

“Andrew Simpson’s scores are the best things on the set...”
—Richard M. Roberts, Silentcomedians.com

 

about me as silent film pianist:

"...Andrew Simpson sounds like he has the potential to be another grand new find as a silent film accompanist.” —Richard M. Roberts, film historian

 

about The Comic Roach: A Roadhouse Picture Show (at the Capital Fringe Festival):

“If you haven’t had the experience of walking from a 21st century DC street into a 1920’s-era California speakeasy and oldtime cinema, and somehow I doubt you have, then you owe it to yourself to see The Comic Roach: A Roadhouse Picture Show. It is, I can say without qualification, a completely unique theatrical event...magnificent” —David Winkler, DCTheatreScene.com

 

about Picking Peaches (cabaret song):

“When Tracy Lynn Olivera swung her hips and sang the naughty “Picking Peaches,” she seduced the audience to listen carefully to what she had to say.  The audience ate it up!...the Warehouse [theater] Mainstage was jumpin’!  It was a real dilly of a performance and it was very peachy keen!” —Joel Markowitz, DCTheatreScene.com

 

about Silent Explosions, Invisible Jumps (silent film-dance-music project)

“What [the author] loves about the programs that are presented at Catholic University is that professors like Andrew Simpson take wild and wacky chances with newly conceived work...a freeing and joyful experiment in collaboration.” —Karren Alenier, The Dressing

 

about Tesserae:

“...dark and exotic, dealing with themes of lives lived in excess, with moments of wild celebration cut short by murder and mourning.” —Diana Nollen, The Gazette (Cedar Rapids, IA)

 

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