Brad Garton, Computer Music Journal, Vol. 15, No. 1, 199, reviewing 
the CDCM/Centaur cd recording of Sinfonia Concertante: A Mozartean 
Episode and Sonata Concertante, wrote:

"...Many Journal readers heard 
this piece [Sinfonia Concertante] performed at the 1989 International 
Computer Music Conference in Columbus, Ohio. Written for chamber ensemble 
and computer-generated tape, the CD version manages to capture the 
delightful and entertaining qualities of the live performance. The 
composition seems to be functioning at three distinct levels: The 
first is a reading of excerpts from Mozart's letters to his father 
from 1777 to 1778 (the English translation is read on the tape by 
Stefan Hurdalek). The second level is a backdrop for these readings 
created by the chamber ensemble. Austin has written a series of very 
"Mozartean" cadences and phrases for the ensemble. These serve to 
punctuate and illuminate the text of the letters. The third level 
is an extraction of Hurdalek's voice, processed using techniques such 
as comb filtering and linear predictive coding (LPC) voice resynthesis. 
It is in the interconnecting of these three levels that the piece 
really comes alive. Hurdalek's voice is well-suited for an aural rendering 
of Mozart's personality (or what we know of it). Hearing this reading 
of the banal facts of Mozart's life, his petty grievances, and personal 
egotism or insecurity, creates a counterpoint to the ensemble's performance 
which suggests the rich musical world created by Mozart. From this 
counterpoint emerges on of the paradoxes of our culture: How can such 
beautiful work come from such a disturbed person? This question has 
been explored to death in books and plays such as Amadeus, but Austin 
does something unique by injecting the processed voice into the dynamic 
established between "mozart" and "Mozart." This third level, created 
by stretching and resonating certain words and phrases, elucidates 
the role of the individual listener in helping to foster the cultural 
paradox represented by Mozart. The more I listened to this piece, 
the more I found myself considering the baggage I bring into the hearing 
of Mozart's (or any) music. Is it the internal echoing of Mozart's 
name through his music that adds to the masterpiece-aura surrounding 
it? How much am I responsible for creating my perception of a piece? 
Austin's Sinfonia does not present any answers, but I found the raising 
of these questions to be an intriguing feature of the music...."

"...Another 
work by Larry Austin entitled Sonata Concertante (1983) also appears 
on the CD. The music in this piece comes from a live piano performance 
and a tape of computer-performed and modified piano sounds. Austin 
used Mandelbrot's fractal methods to generate the tape part. Perhaps 
it is the resultant self-similarity in fractal techniques which causes 
this piece to sound like a piano reflecting upon itself. It begins 
with arpeggiated figures rising up from some very low piano note, 
soon joined by inverse arpeggios descending the pitch scale. The live 
piano part enters by playing a melody in double-octaves. The melody 
in this piece reminds me, for some reason, of the piano gestures in 
the slow movement of Bartok's Piano Concerto No. 2, only played at 
about three times the original sampling rate. This frenetic activity 
builds until the live piano part disintegrates into some improvisational 
chord-clusters. The piano sounds on the tape reflect this by becoming 
more and more processed. Eventually, the live piano part fragments 
into short bursts, which are slowly integrated into the processed 
tape sounds. This transition is one of the magical moments in the 
piece. Probably because the tape part was constructed from a sampled 
piano, the live piano is able to be subsumed quite naturally into 
the tape sounds. I suspect that some of the credit is due to Wodnicki's 
performance. He seems to have a good ear for aligning his playing 
with the tape."