Vincent Plush of The Australian wrote "Schneider's music hails from the glorious American tradition of song-setting from Gershwin to Sondheim, framed in the open prairie sonorities of Copland and gentle jazz-inflected barbs of John Adams. It flows in an unbroken expressive stream, lyrical and ingratiating to the ear. Her melodies elevate Kooser's prosaic lines, suggesting an opera composer of uncommon promise".[2]
Fred Kaplan of Stereophile stated: "This is gorgeous music. There are shards and strands of Copland, Sondheim, Barber, and Ives, though the sound is distinctively Schneider, who is ever-evolving into a composer of—beyond genre—Great American Music".[7]