Worn as a "badge of honor", here is an early review from 1987 in The New York Times on Floating Falling for cello & timpani which premiered at Merkin Concert Hall. The music's rhythmic drive and minimal approach was a stark contrast to the other pieces on the program eliciting this response:
"...a trial - its repetitious style and scarcely varied timbres wearing out their welcome about halfway through this relatively brief piece."
…textually shimmering and harmonically ravishing …like a flower blooming before your eyes.
…the next developments in the sphere (of) minimalism...state-of-the-art examples of this style world.
This is one of the most fun albums to come my way in a while. ...this heavily minimalist-tinged music offers constant delight …impeccably crafted and played by all concerned with pinpoint accuracy.
…everything flows in linear and circular motion as though a beautifully eccentric segmented ballet simultaneously restrained and exuberant, more than once ecstatic. …the entire concept of music top to bottom marvelously persists in non-stop hybridzation and transmogrification.
…a beautiful and texturally fascinating sonic landscape which fully encompasses the listener in its sinuous melodies and jazz-infused rhythms", "…the album stands as a timeless combination of contemporary classical music, minimalism, and jazz into a profound and dynamic multidisciplinary work.
A flawless gem... superlative film scores of rare beauty and consummate aesthetic discretion.
Susman's Duo Montuño for piano and clarinet... transparent... 'floating' Impressionist chords ...quietly powerful...
...an atmosphere that amplifies the wonder, beauty and melancholy of the film's story [Fate of the Lhapa] and imagery. .. richly varied in orchestration and mood.
William Susman's Uprising (1988)...evokes the implacable horrors of the Warsaw Ghetto Uprising...a powerful evocation of planes of sound...and an acute sensitivity to color, which Holzman projected superbly.
...the score [Oil on Ice] reveals considerable sophistication in its composition. ...the sound quality is immaculate -- full and vivid.
In his evocative and sometimes programmatic Uprising, William Susman bears witness to the Warsaw Ghetto uprising... [pianist David Holzman] proved a passionate advocate...a Horowitz of modern music.
- Jerry Kuderna, San Francisco Classical Voice.
Angels of Light ...inspired by a Mark Helprin novel... transparent... timeless... exquisite tonal clashes.
-Michael McDonagh, 21st Century Music
...from the Ellington-Strayhorn Songbook... moody, majestic... with smooth, seductive playing... Ellington's 1937 Caravan... which displayed Susman's steady, heavy left hand vamp, ... an entranced audience... applauded vociferously.
Angels of Light ...oscillating ...shimmers with refracted light. ...vivacious colors.
-Scott MacClelland, MetroActive
…a charged, colorful fabric. The ensemble conducted by Germani played (Twisted Figures) beautifully… Fast and furious, …an exciting penultimate panoply.
…Twisted Figures, a virtuoso chamber work… Full of flash and fury that belies its technically controlled compositional agenda… played with a fine hectic passion…
...[The Harrington String Quartet] gave a vivid impression of the turbulent, watery imagery of William Susman's Streams, a swirling, rich-textured microtonal work.
- Allan Kozinn, The New York Times
William Susman's Six Minutes and Thirty Seconds... sparkling... an essay of spirit and grace...sinuous lines in the French horn and bassoon...
- Mark Alburger, 20th-Century Music
Susman's The Starry Dynamo, ... progressive... sweetly dissonant... the hippest and most arresting music... Plain ol' fun... a music for the 90s clearly enjoyed by players and audience alike.
- Mark Alburger, 20th-Century Music