“Warshaw’s Conjuring Tristan for piano and orchestra… proved to be an ambitious undertaking. … Her narrative concerto is based on Thomas Mann’s novella, “Tristan,” which tells the story of an ailing, young woman, in residence in a sanitorium while undergoing a treatment for tuberculosis. Gabriele also is a pianist who rekindles her artistic spirit while playing through the music of Wagner’s opera at the urging of another patient. Leitmotivs – particular musical gestures, denoting a person, place or an idea – abound in Wagner’s music, and Conjuring Tristan appropriates many, particularly in an expansive solo cadenza summarizing the scene in which Gabriele reads through the score, lovingly played by Warshaw. A graceful and sensitive pianist, Warshaw is an intriguing orchestrator who draws a wealth of colors from an ensemble. … Conjuring Tristan … tells a story within a story that itself is a metaphor portraying the dichotomy between life and art, all clothed in the soundscape of 20th century music.” ~ Jeffrey Kaczmarczick, The Grand Rapids Press


 “She played with unassuming grace, and the voice of the theremin mixed nicely with the other instruments. … The music was unearthly, more like a violin than anything else but not really like a violin, either. … Her right hand looked as though it were picking lint off a tapestry; her left hand looked as though she were petting an otter. … This is the kind of concert that 2013 was supposed to have … ” ~ Jon Carroll, San Francisco Chronicle

“So an unassuming listener to Invocations—the first CD devoted to the music of Boston-based composer Dalit Warshaw—is in for a wonderful shock; the kind of shock that 21st-century new music seems to do better than music from any other era. This is not music that will completely redefine what music can be, like so much 20th-century music had done, but it is also not quite a comfort zone as most music from earlier eras—no matter how initially revolutionary—has become through our familiarity with how it is supposed to sound.” ~ Frank Oteri, NewMusicBox

“The music on her new CD, Invocations (Albany Records), is brainy and surprising, bristling with dissonance one moment and purring lyrically along the next. Who could resist a series of rigorous permutations on the dreidel song (“The ‘Dreidel’ Variations”)—or a piece that calls for not one, but two theremins (“Nizk’orah”), both played by the composer herself?” ~ Alexander GelfandThe Tablet

“ … This is a very special CD … I highly recommend it … as a wonderful introduction to a new and unusual compositional voice.” ~ Lynn René Bayley, Fanfare Magazine

“ … The Israeli-American composer living in Boston has written music for almost as many orchestras as her age, … including the Grand Rapids Symphony four years ago. Warshaw has a gift for colorful orchestration, not only with such exotic toys as rainstick but with the regular instruments as well. With the 60 to 70 teenage voices on stage, she also delved into narration, reader’s theater and other vocal effects. The opening unfolded artfully from a single clarinet to near chaos. The center movement, a celebration of victory, had some hair-raising moments. The Hebrew chant was powerfully sung, and the uncertain end struck a nerve.” ~ Jeffrey Kaczmarczick, The Grand Rapids Press

“Expertly controlling her instrument, Warshaw played it straight throughout—so straight, in fact, that her expressionless face, turned full to the audience, became part of the weirdness of it all.” ~ David Wright, Boston Classical Review

“ … Schneider was following a tough act: theremin soloist Dalit Warshaw, resplendent in a red-and-black dress that resembled a Mondrian painting. The theremin’s otherworldly sounds (often heard in sci-fi film scores) are controlled by gentle hand movements around two antennas and amplified in a speaker. Warshaw’s poker-faced manipulation of this device was a work of performance art.” ~ Harlow Robinson, The Boston Globe

“ … the performance was, on the whole, superb. Dalit Warshaw, composer and thereminist-extraordinaire, took on the lyrical solo part. She brought a very nice shape to Air’s opening and closing sections and seemed to have a lot of fun with its involved cadenza.” Jonathan

“ … soloist Dalit Warshaw was mesmerizing to watch. (Also, I was envious of her groovy retro colorblock dress.) Though the thereminist doesn’t actually touch her instrument, she must deploy an intense physicality to shape its sounds, especially in the low registers where she has to lean back from the instrument.” Miss Music Nerd,

“ … Egozy performed Warshaw’s Lone Conversation (1994) for solo clarinet. The piece is intended as a reflection of an internal conversation with oneself, full of questions, partial answers, doubts, and occasional triumph. … It is a great piece and was well played.  Besides a brilliant career as a composer and pianist, Dalit Warshaw studied the theremin from an early age with Clara Rockmore, a renowned practitioner. … It was spectacular to watch Warshaw perform. … Warshaw held her right hand with fingers bent in precise position in front of the pitch antenna, while her left hand in graceful gestures pumped the volume of each note. A crook of the middle finger of the right hand was sufficient to raise the pitch by a semitone – two fingers would do a whole tone. When an octave was required the whole forearm moved precisely forward and back – fascinating to watch, and a great feat of precision.”~ David GreisingerThe Boston Musical Intelligencer

 “ … Dalit Hadass Warshaw’s 2006 Elegy on a Theme of Sappho, a charged work sporting long tones and occasional dissonant harmonies that reflected the sense of loss pervading the poem that inspired it … ” Brett CampbellOregon Arts Watch


 Columbia Record article PDF


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