“Stutters, pops, crackles and further sonic detritus — inspired fragmentary lines and noisy abrasions. Mr. Wohl’s ingenuity was evident… deeper than the cleverness at it’s surface” – New York Times – Steve Smith
“Paris-born composer Daniel Wohl has a knack for creating electroacoustic pieces that blur the line between electronic and acoustic instrumentation and seemingly melt both elements into a greater organic whole.” – WNYC – Monica Fabian
“shaping our contemporary music scene and defining what it means to be a composer in the 21st century” — NPR
“mesmerizing…now that was seriously cool” – NJ Star Ledger
“Daniel Wohl’s +Ou- (Plus ou Moins) (2008): Trills, tremolos, murmuring and muttering abounded as Wohl confected a shimmering veil of sound from marimba/glockenspiel (Terry Smirl), cello (Zitoun), bass clarinet (William Helmers) and piano (Cory Smythe). Pre-recorded gurgling water and white noise mixed with the shimmer in various proportions. Fragments of melody and bits of perceptible meter drifted in and out of audibility, like figures obscured by fog. Intriguing.” Tom Strini - Third Coast Digest
“Takes the listener on an emotional, sometimes dark, journey. Preparing for the concert, I found myself listening to the work repeatedly on the composer’s MySpace page. It was even more compelling in live performance.” – ArtsCriticsATL.com
“Daniel Wohl’s excellent Aorta…one of the (Ecstatic Music) marathon’s most successful uses of electronics” - New Haven Advocate – Daniel Stephen Johnson
“Glitch by Daniel Wohl does not fall short, does not disappoint, and if anything is more than the sum of its equally spare and excellent parts.” – Disquiet
“Dynamic” – Chris McGovern – Feast of Music
“ecstatic…shimmering” – Seated Ovation
“Daniel Wohl’s “+ou-” used electronics as a ground – somewhere between television static and the burbles of an underwater cave – while gentle piano arpeggios and chimed vibraphone chords created an ethereal atmosphere.” – Paul Kosidowski – Inside Milwaukee
“Dense with ideas and emotional expression. The writing clothes the strings in activity, gestural ornaments … and while this could be fussy in other hands, Wohl always has something forceful and concrete to convey; the activity keeps the ear poised and interested, the idea sucker-punches you. The intensity is built on such simple structures as two bar phrases, contrapuntal lines and straight four-four time… exhilarating sense of clarity and focus.” – The Big City
“imaginative”- Seen and Heard International Concert
“contemplative” – Elaine Schmidt Journal Sentinel
“ingeniously conceived and structured” – New Haven Advocate
“craft and charm” – Hudson Review
“Over a series of sections an electronically distorted prerecorded piano interacts with, pushes against, or combines with the live performance. The resulting piece has a compelling, edge of the seat quality, as one waits to hear what will come next.” – Fool in the Forrest
* Interview in Theatre of Found Sounds
