"The Canadian-born, Juilliard-trained, Washington, DC-based pianist Audrey Andrist...
plays these oft-recorded Schumann works with impeccable technical poise
and a beautiful, full-bodied tone that never splinters, even in Carnaval's giddy climaxes
or in the gnarly, obsessive counterpoint of the Fantasy's middle movement...
Andrist's conception (of the Fantasy) has plenty of animation and singing impulse.
Her intelligent, texturally varied voice leading keeps the central movement afloat,
while the finale unfolds and builds with long-lined ebb and flow.
I also ought to acknowledge Andrist's well-written and informative booklet notes,
Terry Fenton's beautiful landscape cover art, and Judith Sherman's first-class production values.”

— Classics (December, 2011), by Jed Distler

"Andrist's technical ability is not in question, as say "Pantalon and Colombine" falls off her fingers
with ease. The ends of phrases are often handled with distinction, and the playing is
always musical...(In the Fantasy) the playing becomes alive, as phrasing, dynamic subtlety,
and the joy of musical creation takes wing."
— American Record Guide (March/April 2012 issue), by Alan Becker

" the great Op. 110, the next-to-last of Beethoven’s sonatas,
Ms. Andrist shone very brightly indeed. She gave uncommon poignancy
to the lyrical first movement. The central allegro was played boldly and with a
clear sense of direction. The adagio was absorbing from first to last,
the tempos and phrasings shaped by complete empathy with its intensity of feeling.
Each of the two fugues was given its own distinct character,
the first controlled but with a wonderfully expressive
halting rhythm in the right hand, the second more free and buoyant.
This was an intelligent, technically secure and deeply communicative performance."
— (February, 2012) by Mike Greenberg

“Ms. Andrist was simply magnificent. Working with sensitivity,
she marched through the work with genuine warmth and passion.”
— Thunder Bay Chronicle-Journal

"Andrist displayed her virtuosity as she hit every note cleanly and tastefully,
and flew through passages that would have flummoxed others."  
— Washington post, 2005

"...played with great intelligence."
— Stephen Brookes, Washington Post, 2005

"Andrist nimbly put the newly restored Steinway through its paces...
her remarkably clear and musical technique anchored the music throughout."
— Washington post, 2006

"...astonishing clarity and muscle."
— Washington post, 2008

"Audrey is absolutely first-rate.  She is a wonderful pianist, a terrific musician
and a stage personality - in short, she really has it all."
— Donald Erb, distinguished composer

"Audrey is an exceptional musician and pianist.
She combines imagination, intelligence and color in her performances.  
Her maturity and integrity are rare commodities in these times."
— Herbert Stessin, faculty member, the Juilliard School

"Audrey plays with high musical intelligence,
exceptional sensitivity and excellent technical facility."
— Donald Weilerstein, former first violinist of the Cleveland Quartet;
faculty member, New England Conservatory and the Juilliard School

"Her pianism and intelligent musicality are evident in all styles.
Her depth of musical understanding, integrity
and technical skill make her performances truly convincing."
— Anne Epperson, Head of Collaborative Piano, University of Texas at Austin

"I have never forgotten (her) concert at the Maine Center for the Arts,
as I consider it one of the most beautiful and remarkable performances I have ever heard."
— Lorin Hollander, concert pianist