"But all of that was about to torn to shreds with Trash TV Trance [2002], by Fausto Romitelli, performed by the indomitable guitarist Daniel Lippel. If you thought this was to be a light-hearted composition, perish the thought. A brilliantly dissonant work, Mr Lippel’s performance was evocative of the [composer’s sardonic view of the] ‘news-worthy programming and editorial ‘garbage’ spewing forth from an imaginary [or, perhaps, not so imaginary, because it was inspired or suggested by programming on Netflix and Hulu] day in the life of television programming. The performance was [to me certainly] was as brilliant as “Zappa on steroids”. This work progressed – appropriately so –with fragmented and jagged dissonance conjured by the guitarist by using various found objects – such as drumsticks, a woodblock and other devices – in conjunction with electronic delays and other effects triggered by his foot [or feet]. It was a completely different Daniel Lippel – an ocean away from his baroque performance of JS Bach’s Sonata in Cm BWV 997, on his magical well-tempered guitar just a couple of days ago. But his genius for music shone through the refracted screes of contemporary music at this time. The density of the composition was broken up by rapid, stuttering and often humorous breaks in the music, as if the [imaginary] television programming was either being short-circuited by the inane insanity that the composer, Mr Romitelli was attempting to convey."

– Raul de Gama World Music Report

"Lippel’s performances are uniformly wonderful. He begins with S. 996 (Lute Suite No. 1). A well-ornamented Passaggio leads to a crisp Presto. The Allemande and Courante feature ideal tempi, and the Sarabande is rightfully emotional. His Gigue is excellent, but like many players, he omits the sixteenth notes of the bass line in the second half of measure 17 and beginning of m. 18. Like Grgic, Lippel has no fear of being expressive in the music of Bach. In the Sonata, S. 997 (Lute Suite No. 2), his finely judged Prelude and Fugue lead to another lovely Sarabande. I thought at first that the Gigue was too relaxed, but since he justifiably uses the Double instead of repeating the respective sections of the original dance, the overall effect is ideal. A wonderful Prelude, Fugue and Allegro conclude this distinguished program. Excellent sound and liner notes about the music and the tuning."

– Al Kunze Soundboard

Daniel Lippel, an exciting soloist and a key member of the International Contemporary Ensemble, plays above, among and alongside his colleagues, fluttering and roaring in works that allude to Mr. Fujikura’s Japanese heritage while also asserting his cosmopolitan style.

– New York Times Arts Beat Steve Smith

"..his satisfying pacing of the Prelude, his expressivity and slight rubato in the Fugue, his enjoyable sense of the bassline in the Gigue, and his excellent technique in the seemingly never-ending runs of the Double all made a strong impression. He closed with selections from Mirrored Spaces, which he co-wrote with Orianna Webb. The first movement, “Refracted,” is especially memorable for using that language to express a variety of sensibilities: lullaby, romance, and chaos. The second movement, “Sturdy” is another standout for its intriguingly blurry sense of mood and tonality. Lippel’s performance of this distinctive and impressive work was magnificent both technically and atmospherically."

– Jarrett Hoffman Cleveland Classical

"The E Minor is beautifully articulated and liberally ornamented, the opening prelude and fugue restrained to throw the expressiveness of the following dances into sharper relief. I loved, too, the idea of intertwining the C Minor’s gigue and double, which affords a greater appreciation of interval contrasts. No mere curio, this release marks a watershed in Lippel’s ability to bring together novel musicological and philosophical strands in the service of pure pleasure."

– Will Yeoman Limelight

"Lippel grabbed me from the very first pluck of a string and kept me mesmerized throughout the night, and at the end, wanting even more. Lippel isn't loud, flashy, pedantic, or boring. What he is is an amazing master of his instrument. And I guess I've been living under a rock, because when I checked out his website after the show, my head started spinning with all the accolades he's garnered, and the list of contemporary composers who have written compositions just for him is long and jaw-dropping. The concert was an eye- (and ear-) opener for me. So the next time someone invites you to a Dan Lippel solo concert -- GO!"

– Stephen Pisano Feast of Music

"...the whole experience for the listener is pure delight. Lippel treats these three Bach works...with a style that keeps melodic lines flowing yet allows some breathing room for expressive phrasing. The difficulties of playing these works on the lute–or guitar–are notorious, but unless you’re a serious student of this repertoire, all you will notice here is how easy and natural Lippel makes everything sound."

– David Vernier Classics Today

"The first thing that hit me and what is important to note straight off is the remarkable classical guitar performances by Daniel Lippel. He has a very beautiful tone, righteous phrasings and a kind of transcendent way of sounding his parts. I sometimes while listening forget it is even a guitar, it is so musically right, the technique so solidly put in the service of the music itself."

– Grego Edwards Gapplegate Classical Modern Music Review

"Lippel manages this quite well. “Aufenthalt” storms angrily, “Die Post” dances jauntily (but doesn’t fail to catch the note of despair in poet Wilhelm Müller’s lonely lover), and “Ständchen”is simply irresistible. Lippel’s is a strong performance that will reward the listener."

– Classical Voice of North America Ken Keaton

"Lippel, the versatile and skillful guitarist of the International Contemporary Ensemble, goes solo in an evening of new music for electric guitar."

– Time Out New York Steve Smith

"Mario Davidovsky's Synchronisms #10 for guitar and tape was performed with exceptional lucidity by Daniel Lippel."

– Pittsburgh Tribune Review Mark Barry

Guitarist Dan Lippel gave a precise, sensitive rendition of Leo Brouwer’s 1973 “Parabola,” the Cuban composer at his most modernistic, his heritage only implied by his idiomatic fluency with the instrument.

– Boston Globe Matthew Guerrieri

"The guitarist Daniel Lippel, flutist Claire Chase, and percussionist Nathan Davis -- all members of the estimable International Contemporary Ensemble -- were the stellar instrumentalists here, conducted in a bristling performance by Robert Ainsley."

– NY Times Vivian Schweitzer

"Guitarist Dan Lippel was simply brilliant, knowing exactly when to thrust above the string quartet and when to melt into its textures."

– Peter Van Zandt Lane Boston Musical Intelligencer

"Abandoned Time gives us another chance to hear modern guitar polymath, Dan Lippel, this time backed by the stellar International Contemporary Ensemble. Lippel and ICE put their hearts into this project, delivering expressive, detailed, and precise interpretations."

– Ian Antonio Guitar Review

“These performances definitely have a live feel, though there's no sense of the facile- only depth caught on the wing. Sometimes Lippel dwells indulgently in the moment, as in the Grave of the A minor Sonata or the Sarabande of the A major Suite; at other times the music is allowed to flow naturally, as in the final movements of those works. Looseness and tension are fluently articulated within a flexible, expressive framework. An impressive release, then. Not a definitive statement- nor is it meant to be. Full marks to Lippel for daring to show a little humanity”

– William Yeomen Gramophone

“Dan Lippel was first with Electric Counterpoint, a piece for guitar and tape by Steve Reich. The playing by Dan Lippel here was seamless with the tape and the sound reinforcement system seemed to be up to the task of projecting out into the open spaces of the park. The recorded bass line was particularly effective when present and there was all the energy typical of the music of Reich. The piece unfolded in several sections that were variously festive or a bit more introspective, but all consistently active and upbeat. This was the perfect opening piece for the afternoon and the audience was visibly pleased."

– Paul Muller Sequenza21

"This comes via Lippel’s YouTube channel where you can watch a ton of interesting new music projects and works. Lippel has done some amazing work over the years and has real new music street cred. Vigeland’s work has some interesting soundscapes and contrasts between delicate spacious textures and bursts of intensity. Excellent playing by Lippel matching the precision and thoughtful pacing of the work. Super pretty final movement/section."

– Bradford Werner This is Classical Guitar

"ICE Ensemble guitarist Dan Lippel is a new music whiz on the six-string, which you'd have to be to play two Elliott Carter pieces, one by Milton Babbitt and your own arrangement of Steve Reich's Electric Counterpoint on the same program."

– Kurt Gottschalk TimeOut NY

"Dan Lippel is a formidable guitarist. He strums an eclectic repertoire, including Steve Reich’s Electric Counterpoint and John Link’s Like Minds."

– Doyle Armbrust/Matt Pollock Chicago Magazine

"I must say the music sounds wonderfully well, perhaps the best it ever has in Daniel Lippel's hands. It is marvelously resounding and drivingly rhythmic. It is exceedingly beautiful to begin with, and even more so in this extraordinarily well articulated version. A better 15 minutes I cannot imagine, unless it were to be on some other planet! All guitarists should hear this. Everyone else, too, while we are at it. Seminal."

– Grego Applegate Edwards Gapplegate Music review of EP release of Reich's "Electric Counterpoint"

"However, guitarist Dan Lippel did get a chance to “rock out,” which he did with abandon.”

– Christian Carey Sequenza 21

"It’s easy to become lost in Lippel’s playing; he jams his way through the three movements with impeccable rhythm and a verve that, while delightfully engaging, doesn’t emphasize any particular pattern in the music, instead washing over the listener in relaxing bursts of musical chatter. It’s a slightly different take on the piece, and it’s quite nice — a bit more dynamic than previous recordings."

– Jeremy Reynolds Cleveland Classical on EP release of Reich's "Electric Counterpoint"

"2004's Unfoldings presents a solo guitar setting realized with exquisite attention to detail by Daniel Lippel, the work's title referencing a progressive unfolding involving a series of six chords and resonant voicings stemming from them."

– Ron Schepper textura review of Mikel Kuehn's "Object/Shadow"

"Daniel Lippel on the guitar and Mezzosoprano Nani Füting offered an intense musical experience on an extraordinary level. The guitarist interpreted works from baroque to contemporary composers. He performed convincingly with his expressive, differentiated way of playing. With great color, he played works by Franz Schubert and Isaac Albéniz. The interpretations of contemporary composers such as Nils Vigeland or Reiko Füting were virtuosic and attracted a lot of interest. 'I am fascinated by the technique of the guitarist, which is otherworldly,' enthused Martin Schlinkert from Schulzendorf. Regina Fischer from Niederlehme said that she has never heard such a good guitar player.' "

– Erika Kersten Markische Allgemeine - Brandenburg Land

"Guitar is the real backbone of this record, another great job by the Kairos independent record company, where just the two only solo guitar passages, Sparks and Sparking Orbit (masterfully performed by Daniel Lippel) are enough to attract the attention of all the contemporary guitarists. A really great record that, made in 2013, still needs to be listen to, again and again."

– Andrea Aguzzi Neu Guitars

"The guitarist on all pieces is Daniel Lippel, a major voice in interpreting contemporary composed music. Lippel’s performance is particularly compelling as he makes explicit the timbral implications of Füting’s stable and unstable chords, harmonics, single note runs and trills, volatile dynamics, and leaps of register. Here as everywhere else on the recording, Lippel plays with a characteristically pristine tone and precise voicings."

– Daniel Barbiero Avant Music News

"Lippel is a reputed performer of solo and chamber music, and a very sensitive player as this recording shows. Lippel is playing on all compositions that are presented here. What makes this release especially interesting for lovers of acoustic guitar in modern composed music."

– DM Vital Weekly

"..virtuosic and deeply musical guitar playing.. Along with Duo Noire's "Night Triptych," this is the best classical guitar album of 2018.. ...Then Lippel entered stage right and burned the place down with the steel string guitar solo featured on Dinosaur Scar."

– Jeremy Shatan An Earful

"A performance of “Impeccable Quake” lacked a bit of the bite that the International Contemporary Ensemble provided on its recent recording — if only because the playing of the virtuoso guitarist Daniel Lippel was mixed too low inside the Miller."

– Seth Colter Walls New York Times

Interview with Andrea Aguzzi

– Andrea Aguzzi Neuguitars

Interview with David Osenberg on WWFM

– David Osenberg Cadenza

Interview with Anthony Lanman on 1Track

– Anthony Lanman 1Trackpodcast

Interview with Gail Wein on Sequenza 21

– Gail Wein Sequenza21

"But there was something about Abandoned Time (for electric guitar and ensemble, 2004, revised in 2006) that called the prose of Haruki Murakami to mind. Even the title suggests the author's way of pinning nostalgia to fading memories. The piece recalls boys in Fujikura's school dormitory playing electric guitar, a role filled by the fine guitarist Dan Lippel. The dramatic use of expression pedal and finger-hammering captured well the adolescent fascination with the instrument and its concomitant posturing." Review of Dai Fujikura 3/5/20 Miller Theatre Portrait Concert

– Kurt Gottschalk BachTrack

"To say that Beyond 2020 saved the best for last may be a bit subjective, but it is hard to exaggerate the awe-inspiring excellence of both FretX and the Del Sol String Quartet. At the conclusion of such an enormously varied weekend of programming, these ensembles returned to a purity of form and intention that offered a neat summary of microtonal composition, both conceptually and in flawless execution. FretX’s rendition of Helmut Lachenmann’s "Salut fur Caudwell" was a triumph of expressive coordination...

– Christian Kriegeskotte I Care if You Listen

"I would like to emphasize not only the high quality intrinsic to each pieces but also the intelligent way in which they have been proposed and amalgamated, reflected between them. “Mirrored Spaces” is an album that must be listened to in a religious and exact sequence, in order not to get lost in that maze of complexity that Daniel Lippel has proudly and intelligently created."

– Andrea Aguzzi NeuGuitars

"Lippel, like Starobin, is one of those guitarists who views the guitar as an instrument no less capable of advancing musical frontiers than any other instrument, and his strong musicianship supports that view."

– Raymond Tuttle Fanfare

"On Chronicles XIII for classical guitar and synthesizer Gross creates a truly dialogic encounter for acoustic guitar, given a subtly etched performance by Daniel Lippel, and electronics. The work is tightly choreographed, with each instrument completing the other’s lines or complementing the other’s rhythmic accents."

– Daniel Barbiero Avant Music News

"This album works so very well on many levels. It is a great example of the state of art in tuning scholarship, a lovely recording of a fine instrument, and a deeply engaging example of authentic and thoughtful performance practice. From the moment I first heard this CD I was entranced by the very musical experience. There is as much to appreciate in the depth and accuracy of the scholarship involved as there is in the deeply committed and learned performance. This is recording is “definitive” in that it represents state of the art tuning theory, instrument making, and baroque performance practice. Hearing his affinity for baroque performance practice is indeed a revelation by itself. Lippel whose virtuosity and facility with new music is well known demonstrates his facility with baroque performance turning in a ravishingly beautiful recording of this music. This is a level of excellence that has this writer hoping for more."

– Allan Cronin New Music Buff

"one comes away from the album newly reminded of his extraordinary gifts as a guitarist and interpreter. His virtuosity is evident throughout but always deployed in service to the material, and ornamentation is present but circumspectly woven into the playing. Dexterity and precision are needed to perform these pieces, and Lippel possesses both. Lippel's playing is distinguished by precise intonation and elegant phrasing, qualities that make listening to these settings all the more satisfying, and the stateliness of the slower “Sarabande” registers as strongly as the faster “Bourée” and “Gigue.”

– Ron Schepper textura

"Guitarist Daniel Lippel’s playing is solid and at the same time expressive, uniquely his own by virtue of tasteful, stylistic, and creative ornaments that allow his individuality to shine through without disturbing the original music’s phrasing and intention. Overall, this is an excellent recoding and worth hearing."

– Jim McCutcheon American Record Guide

"Dan Lippel -- one of the finest classical guitar players I've had the pleasure of seeing live. Together, the sound they made was something beautiful."

– Brighton Music Blog (UK) No Author Specified

2004's Unfoldings presents a solo guitar setting realized with exquisite attention to detail by Daniel Lippel, the work's title referencing a progressive unfolding involving a series of six chords and resonant voicings stemming from them. (1/2017)

– Ron Schepper textura

Review of "It’s easy to become lost in Lippel’s playing; he jams his way through the three movements with impeccable rhythm and a verve that, while delightfully engaging, doesn’t emphasize any particular pattern in the music, instead washing over the listener in relaxing bursts of musical chatter. It’s a slightly different take on the piece, and it’s quite nice — a bit more dynamic than previous recordings."

– Jeremy Reynolds Cleveland Classical