photo credit: Peter Dressel

Guitarist Daniel Lippel, called an “exciting soloist” (New York Times) and “precise and sensitive” (Boston Globe) has carved out a unique and diverse career that ranges through solo and chamber music performances, innovative commissioning and recording projects, and performances in diverse contexts. He has premiered more than fifty new solo and chamber works, many written for him, recording several on the independent label he co-founded and directs, New Focus Recordings. Recent performance highlights include recitals at Le Poisson Rouge in New York, Sinus Ton Festival (Germany), National University of Colombia in Bogota, Lawrence University (Wisconsin), and the New York, Philadelphia, and Cleveland Classical Guitar Societies, featured solo performances at the ZKM in Karlsruhe Germany with the SWR Experimental Studio Frieburg, MATA Festival, and WNYC's Greene Space, and chamber performances on the Macau Music Festival (China), Mostly Mozart Festival at Lincoln Center, Ojai Festival, Ottawa Chamber Festival, Aspekte Festival (Salzburg), Kunst Universitaet Graz (Austria), Newburyport Chamber Music Festival, and at Teatro Amazonas (Manaus, Brasil), Sibelius Academy (Finland), and Zankel and Weill Halls at Carnegie Hall. Lippel has been a member of the International Contemporary Ensemble (ICE) since 2006 and new music quartet Flexible Music since 2003 and has been a guest with many other ensembles including the St. Paul Chamber Orchestra, New York New Music Ensemble, counter)induction, New York City Opera, Wet Ink Ensemble, Either/Or Ensemble, Cantata Profana, Wavefield Ensemble, Dinosaur Annex, Cygnus Ensemble, FretX duo with Mak Grgic,  as well as performing with many chamber collaborators in smaller ensemble formations. Lippel has worked closely with many eminent composers including Mario Davidovsky, Ursula Mamlok, and Nils Vigeland, and collaborated on new works with several of the community's most active mid-career composers, including Dai Fujikura, Tyshawn Sorey, Reiko Fueting, Du Yun, Douglas Boyce, Kyle Bartlett, Ken Ueno, and Wang Lu. He has had the opportunity to perform chamber and ensemble music by Elliott Carter, Steve Reich, Olga Neuwirth, Kaija Saariaho, George Lewis, Louis Andriessen, and George Crumb with the composers in attendance. Lippel's recordings have garnered him critical acclaim from several publications including the New York Times, Boston Globe, Gramophone, American Record Guide, Chicago Reader, New Music Box, and Sequenza21. His work encompasses repertoire for both classical and electric guitars. In addition to New Focus, he appears on recordings on several other labels including Kairos, Bridge, Innova, Sono Luminus, Albany, Tzadik, Wergo, New Amsterdam, and New World, and as a producer and co-producer on several New Focus releases. Lippel was the classical guitar soloist on the Eliot Goldenthal score for the 2017 Netflix film "Our Souls at Night" as well as the feature length film "The Longest Week". He has performed actively in non-classical contexts as well, notably as a touring member of eclectic indie group Mice Parade, performing with them throughout North America, Europe, and Asia, in addition to engagements as a sideman and improviser in various other stylistic contexts. 

As an educator, Lippel is particularly interested in demystifying the contemporary repertoire for guitarists, and the guitar for composers. He has given guitar masterclasses and presentations at many institutions including the Hanns Eisler Hochschule in Berlin, Curtis Institute in Philadelphia, National University of Colombia in Bogota, Sydney Conservatorium of Music (Australia), San Francisco Conservatory of Music, Cleveland Institute of Music, and Syracuse University and guest lecture presentations to composition departments at the Peabody Institute of Music, University of Texas at Austin, DePaul University, New York University, University of California at Davis, as well as a presentation to the 2016 Guitar Foundation of America conference on guitar and electronics repertoire. He was on faculty at Bowling Green State University in Ohio teaching classical guitar from 1999-2001 and received the Doctor of Musical Arts Degree from the Manhattan School of Music, under the guidance of David Starobin, writing his dissertation on the guitar works of Mario Davidovsky. His previous primary teachers include Jason Vieaux and John Holmquist as part of his Bachelor's and Master's degrees from the Cleveland Institute of Music, Steve Aron as an undergraduate at Oberlin Conservatory, David Leisner, Nicholas Goluses, as well as secondary jazz studies with Bob Ferrazza. 






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