". . . a modern art song recording that is praiseworthy in every respect. Hoekman shares the spotlight in this collection with Lee Hoiby, John Duke, and Richard Hundley—a formidable group indeed—but Hoekman's songs are just as impressive and memorable. . . . beyond his highly effective vocal writing, Hoekman (not surprisingly) crafts his piano accompaniments with a splashy sense of theatrical flamboyance and plays them brilliantly. 'Two Butterflies Went Out at Noon,' the last of his four Emily Dickinson songs, features some especially dazzling piano work that somehow manages to enhance rather than upstage the soprano's lovely singing. Hoekman is also the most accomplished of these four composers when it comes to setting texts with clarity and sensitivity. Nearly every single word is easily understood, which is as much a tribute to Hoekman's compositional skill as it is to Connors's attentiveness to articulation. . . . It is also gratifying to hear such a variety of colors and textures, including some refreshing forays into coloratura fireworks, something very seldom heard in modern art song. . . . The disk opens with Hoekman's exquisitely crafted To Make a Prairie, in which he flawlessly captures the varied hues of four of Emily Dickinson's finest poems. . . . American Lyrics, based on poems by five different poets, features an even wider array of styles and moods. It culminates in a spectacular setting of e. e. cummings's 'i am so glad and very' . . . Hoekman may have only been in his mid-twenties when he composed Seven Housman Songs, but it's a work of impressive assurance and maturity."
- Gregory Berg, Journal of Singing
"This generous collection . . . offers up essentially all of the composer’s so-called classical art songs. . . . Pianist Timothy Hoekman . . . is a superb partner to both singers, and he seems to relish the rich opportunities presented to him by these colorful songs. He demonstrates the utmost sensitivity and delicacy when that is called for, but can also summon up thundering power or luscious warmth. He seems to have every conceivable musical color at his disposal."
- Gregory Berg, Journal of Singing