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

Mark Barry, Pittsburgh Tribune-Review, January 11, 2010

"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, July 26, 2009

"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, Spring 2009

"At all times all the players give a tremendous account of these works. Recommended at the highest level to those into this repertoire."

Stephen Kenyon, Classical Guitar, review of Abandoned Time, May 2009

"Lippel’s guitar presides over the proceedings whether it’s screaming atop the din or weaving delicately through it. Also a longtime member of the post-rock band Mice Parade, he tackles a strictly modern repertoire on Abandoned Time, backed with sensitivity and verve by members of ICE, a partly local collective that’s emerged as one of the country’s boldest advocates of new music. Lippel plays acoustic guitar on most of the other compositions—by Mario Davidovsky, Kaija Saariaho, Du Yun, and Magnus Lindberg—and they’re just as demanding, filled with jagged lines, blistering rhythms, and explosions of energy."

Peter Margasak, Chicago Reader, November 17, 2008

"Going all over the map here, Lippel manages to wow us with his instrumental prowess. Fans of new guitar music can look forward to his next release, as Mr. Lippel continues to promote new music."

Matthew Hough, Guitar Review #135 Summer 2008

"...very interesting and beautifully performed."

McCormick, Sustenance Review, American Record Guide, April 2008

“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”

Wiiliam Yeomen, Review of Bach CD, Gramophone, May 2006

"Daniel Lippel is a New York-based guitarist and chamber musician and a doctoral student at MSM, where he studies with David Starobin. He is a fine player, with good musical instincts and a sound technique. He shines brightly in the new works on the "Resonance" release, including Mario Davidovsky's little-heard Synchronisms #10 for guitar and tape, a riveting piece. Besides the Carter, the rest of the works here are by lesser-known composers. Peter Gilbert's Ricochet   for guitar and electronics is particularly appealing on a first hearing, with infectious rhythms and delightful coordination between guitar solo and electronics."

Steven Rings, American Record Guide July/Aug 2006

"The young and much-lauded guitarist Daniel Lippel delves into the music of Johann Sebastian Bach for this release on Focus Recordings. For starters, Lippel pays attention to rhythm, an issue which, if not dealt with closely, can doom so many performances of great compositions. His sound throughout the program is solid and attractive, and the recording quality is above par. This disc shines through as a fine example of how fresh J.S. Bach's music can sound when infused with sufficient creativity and vitality. "

Matthew Hough, Guitar Review #132, Summer 2006

" Daniel moved effortlessly through a balanced and demanding program, producing a beautiful and graceful musical afternoon for all....
Your recent Bach cd is fantastic. Not only is the playing and transcription great, but the guitar sound is so pure and natural....In addition to a great technique, you have a great sound."

Excerpts from interview with Gerry Saulter, 20th Century Guitar,
May 2007

“Daniel Lippel realized the demanding score with precision and expressivity.”

Michael Cameron, Chicago Tribune, January 17, 2005

“Daniel Lippel is sturdy and reticent. At first glance, one gets the impression of a young Marlon Brando; he is exceptional in his craft but he does not ham it up. The apotheosis of the modern guitarist...."

James Hanna, Guitar Review #131, Fall 2005

“The piece opened with an extended section for guitar only, hectic and vigorous, shifting from metallic fury to weary calm. When electronic sounds began to emerge, Lippel's meticulous phrasing and penetrating tone seemed to soften and relax. His guitar line sounded more expansive, somehow taking comfort in the companionship of the resonant electronic oscillations and gentle whistles.”

Wynne Delacoma, Chicago Sun Times, January 16, 2005

“Daniel Lippel is a New York-based guitarist, who is intensely committed to challenging contemporary music. Much of the music [on Resonance] is extremely demanding for the guitarist and I can't imagine it being better played."

Goran Forsling, Music Web International, May 2005

“Lippell's [sic] playing on the Davidovsky is intense and well articulated, emphasizing the angular nature of the phrasing. The fine performances and well-balanced program make this disc [Resonance] a standout and definitely worth purchasing."

James Hanna, Guitar Review #130, Spring 2005

“Well this is a treat. Guitarist Daniel Lippel has put together a wonderful CD featuring works by Mario Davidovsky, Nils Vigeland, Elliott Carter, Soonjung Suh, Judah E. Adashi, and Peter Gilbert. Whether he's rippling through Carter or chilling out with Vigeland, Lippel's playing is consistently convincing and leaves little to be desired. He's as technically sound as anyone could possibly want, and his musicality makes everything sound as natural as improvisation. "Resonance" may be a little difficult to find, but it's definitely worth the search."

David Salvage, Sequenza21.com, February 14, 2005

“Guitarist Daniel Lippel has self-released a CD which shows off the wide range of his abilities. His plush sound and fluent technique lie at the heart of his playing as a constant, but he finds a different voice when he needs it. His Bach and Takemitsu are not at all the same even though they share his general approach to music making. It would be most difficult to pin down a favorite work on this CD; they are all so different, each one from a different period.
The Bach has a limpid clarity of line which one must have to make Bach work. Yet there is nothing rigid sounding in Lippel’s phrasing.
Elegy is well sustained by Lippel, capturing the intimacy of the sadness in a single guitar, yet expanding grief beyond that single focus in the resonance of the instrument.
This is another CD which should be added to the shopping list.”

Paul Somers, Classical New Jersey Society Journal

“Dan Lippel did a wonderful job with Mario Davidovsky’s Synchronisms No. 10 for guitar and electronics, the latter entering dramatically about three or four minutes into the piece. As with the composer’s other Synchronisms, this one asks the instrument and the electronics to dance, combine, and realign themselves, to comment on each other, and Lippel couldn’t have been more intent or persuasive. Peter Gilbert’s Ricochet, winner of the 2004 Look and Listen Award, was also shown to great advantage by Lippel, and perhaps coincidentally, its bristling language seemed nicely paired with the Davidovsky.

The final work, Davidovsky’s Festino, combined guitarist Lippel with Jessica Meyer on viola, Joanne Lin on cello, and Troy Rinker Jr., on bass, who closed down the evening with the composer’s intricate, buzzing rhythms brought to vigorous life.”

Bruce Hodges, Music Web International- Seen and Heard, March 2004

“2002 Boston Classical Guitar Competition winner Dan Lippel opened our season with an adventurous evening of contemporary works for guitar. His high-tech program featured works by Mario Davidovsky and local composer Peter Gilbert, impeccably played, combining amplified classical guitar and electronic sounds to truly otherworldly effect.”

Boston Classical Guitar Society Newsletter, December 2003

“…the use of the guitar in the pit is inspired. Not only is the opera’s Spanish setting underlined, but the guitar takes the place of the harpsichord in the recitatives, sounding remarkably stylish.”

Donald Rosenberg, Cleveland Plain Dealer, July 29, 2000
in a review of Lyric Opera Cleveland's Marriage of Figaro performance,
with Lippel providing recitative accompaniment."