“How good of Rob Cronin to write a sonata for the euphonium. I’ve always felt sorry for that instrument.” 

-Susan Lambsworthy, St. Louis Town Yeller

“Rob Cronin’s Postcard evoked images of a faraway place I’ve never visited but might like to someday, assuming my original travel plans for that week have fallen through.”

-Trent Dash, Lento.com

“Who writes songs in Swedish? Yes, yes, I realize that Rob Cronin has done so. I actually meant that as more of an indignant rhetorical question.”

-Harvey Skatkim, The Musical Observer

“As I began listening to Rob Cronin’s Sonata for Unaccompanied Cello, I kept waiting for the pianist to show up. About halfway through, I realized what Cronin had done. A true masterstroke. Bra-vo, Cronin! You win this round!”

-Keith Darvis, Milwaukee Weekly

“Remnant for Flute and Harp is blatant false advertising. After the premiere, I waited by the stage door for nearly 40 minutes. Rob Cronin finally came out. I asked him point-blank if I could hear the rest of the piece sometime. He acted like he didn’t know what I was talking about. I told him a remnant is a small piece of what was once a much larger whole. He nodded and told me the first three movements were destroyed in a flash flood. I told him this was highly improbable, given that most composers nowadays compose on a computer and back up all their work to an external hard drive and/or a cloud-based document storage solution. He was quiet for a long time and then told me that sometimes composers get tired of calling things ‘Sonata,’ ‘Rhapsodie,’ or even ‘Poem,’ so they use words like ‘Remnant.’ I was actually pretty satisfied with this explanation, but I still feel cheated out of, say, eight to ten more minutes of music.”

-Purvis McKennon, Atlanta DimeSaver