Short Commentaries

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Several of the works were cast in such exotic terms that questions about their tuning systems were immediately derailed.  Mr. Reinhard's Atlantis, for example used what was described as a microtonal tuba, played by David Grego, but otherwise the ensemble consisted of chimes and conch shells.  Of course, the point of microtonal music is the music, not the microtonality, and Mr. Reinhard made some interesting musical points in his evocation of mythical antiquity (the shells and chimes) in contention with modernity (the tuba).
Allan Kozinn THE NEW YORK TIMES 3/21/92

The concert on Saturday also brought two other Reinhard projects: his completion of Edgard Varese's Graphs and Time, a piece in graphic notation originally intended for Charles Mingus's band, and his own Cosmic Rays, a dazzlingly inventive although somewhat over-eclectic work for string quartet.
Alex Ross THE NEW YORK TIMES 3/22/95

There is something - 'classical' - about Reinhard's style and music.  It's John Cage with a heart, refined La Monte Young.  Call it what you like, you have to admire Reinhard for his intellectual-classical approach to stretching and pushing the parameters of music vs. noises.  I prefer to think of it as music.
Ronald Klimko, Editor THE DOUBLE REED vol. 19, No. 1, 1996

Some of the most memorable moments were in solo settings.  Bassoonist Johnny Reinhard's Dune was a show-stopper in which he explored the didjeridoo-like overtones and other new techniques on his instrument.  He literally took it apart at one point, to play the expressive, witty beast within an often staid instrument.
Joseph Woodard LOS ANGELES TIMES 4/21/98

To Reinhard's credit, he plays microtonal bassoon with a razor-sharp tone and blinding accuracy.  When his pitch was a sixth-tone flatter than the piano's, you knew he meant it and you heard that interval.
Kyle Gann THE VILLAGE VOICE 7/2/91

And once again, we were entertained by the king of microtonal music, Mr. Johnny Reinhard, bassoonist extraordinaire, who played (or shall we say channeled?) an improvisational duet with Emmanuel Somer on English horn.

In the middle of one song, though, festival director Johnny Reinhard stormed through an incredible, ferocious, wailing, omnimicrotonal solo on the, Lord help us, amplified bassoon.  What an instrument for Jimi Hendrix's reincarnation to turn up on.
Kyle Gann THE VILLAGE VOICE 7/13/94

Fascinating, intriguing, engrossing, bewildering, impressive, revelatory, a lost masterpiece now found.  All of this.  Listening to Johnny Reinhard's realization of Charles Ives' The Universe Symphony is like observing a session of psychoanalysis in music - This is the hidden - the dream work - made real.
Roger Merrick LITTLE NOTES BETWEEN THE KEYS vol. 3, No. 2  1998