- What we get here is subtle, precisely crafted music of serious social and philosophical intent, shown to best advantage in the remarkable “Odradek Quartet” (1999) – thanks to. Wrought fundamentally from the idioms of other music, other composers, the music of the “Odradek Quartet” – its name is from Kafka -lives outside its own skin: elsewhere. It’s most powerful statement seems to be the impossibility of any longer making a statement that coincides with itself. In this condition of radical brokenness, what is isn’t.
(Christopher Ballantine, International Record Review)
- Mahler’s Great Grandson
Gideon Lewensohn suggests a rare affinity, paradoxical at first glance, between his two musical mentors. Gustav Mahler and Gyorgy Kurtag. In this personal music with unique voice, sounds may flow in scarce measure. It’s charm being reflected in meditative tranquility, which is yet live and highly subjective poetry.
(S. W. Suddeutche Zeitung, Germany, Decenber 2002)
- … a music of pure creative adventure whose promoting genius is to befound in the pages of a Mahler, of a Shostakovich, rather than in the rigorous dryness of a Webern. […] There is here a lack of trust in the tragic aspects of the world in which we live now. The learned language that tragedy demands is discarded. But Lewensohn oddly succeeds in making the highness of tragedy believable to us.
(Enzo Siciliano, Note Personal/, II Venerdi di Repubblica, Oct. 25th 2002)
- […] Lewensohn is so confident of his means to the extent that he is able to compress with success, the groaning scorched symphonisism into the broken and fragmented contemporary language … The concentrated compact and accurate inventions, the tiny movements in highly limited space, create a huge, effect …
(Tilman Urbach, Fono Forum March 2003 Stern des Monats)
- A Dialogue with Time
Emotional memories. Memories of emotion.
…a metaphorical dialogue about time and with time. Refined and interpreted in music as delicious as Proust’s “madeleine”, (or reminiscent of Proust’s “madeleine”). Score in hand, one marvels at the great virtuosity of the musical signs and gestures, the techniques of composition, and the spaces for the strings.
(Luigi’ Abbate, Amadeus, May 2003)
- Music by the Jerusalemite Gideon Lewensohn is a web of friendships and cultural references Grand gestures, wailing of homelessness and glimpses of quotations have a Kafkaesque undefined presence. The reference to Schumann’s ich groll doch is a reminder of the Jewish suffering. Lewensohn ties themes together in a convincing manner. Instead of forming a patchwork quilt, the quotations appear like mysterious visions. Intensive tones and strong control of transfers serve to distance the music from giving an impression of snobbism.
(Jukka Isopuro Helsingin Sanomat Finland)
- […] The prevailing atmosphere is one of regretful nostalgia … in particular, the Odradek Quartet is a very thought-provoking and enjoyable work.
(Robert Kirzlnger, Fanfare, June 2003)
- Lewensohn sees himself as an interpreter of musical culture, His music offers many and highly subjective interpretations. His highly intelligent and witty encounter with musical heritage is felt throughout, especially his love-hate for late romantics, fascinating!
(Crescendo, March, 2003)
- This is some of the most fascinating music that I have heard. It is accessible and yet it takes some time to even get a grip on (especially the quartet). […] Lewensohn is an original, no doubt. But he is also a believer in melody, harmony, gesture and even subtle drama. His references and gestures are quick; glances and sideways winks, interludes within the narrative. But because of his understanding of harmonies and overtones the whole effect is just as a part of strata; as an allegory with many layers of sub text and effects … In a way, this is meta-music – music about music. The postludes are a real treat.
(Duane Grant, sequenza21.com)
- Lewensohn’s music tends to draw its energy from dialogue…this is a sort of musical “imaginary theater,” a dreamworld. One can certainly call his work “postmodern” in the element of blending voices and historical elements, but while there are playful elements, there is little of the over-the-top juxtaposition and distortions one finds in a postmodern master such as Schnittke. Lewensohn is not primarily ironic; there is deep love and nostalgia in his music.
(Robert Carl, Fanfare, Aug. 2003)
- Manfred Eicher of ECM label strikes again with his aesthetics of quiet intensity solid as a rock. Again and again he sorts out new musicians who hit the target …this “grandiose outsider” who is between Jewishness and Surrealism.
(Reinhard Schulz, Neue Musikzeitung, Germany, November 2002)
- Lewensohn writes music about music … Odradek quartet by Lewensohn is a kind of Kalaydescope of miniatures with characteristic titles. At times enigmatic… all this is done with high subtlety and is often ironic yet it retains a balance of vagueness. …. In spite of the very advanced language the music remains always fascinating!
(Alfred Beaujean, Stereoplay, November 2002)
- […] The most remarkable thing is that the composer succeeds in transcending the music of these composers and in creating a very personal sound-world. He obviously has things to say and knows how to say them in a musically satisfying way. Once again, ECM at their most imaginative and the production is excellent.
(Hubert Culot, Music on the Web, Jan. 2003)
- Lewensohn is not in the business of “post-modern” collage, but he prefers intensity- at times raw, at other times more reflective … the music’s manner is often haunting, eloquent, the dedicated performers recorded with appropriate warmth.
(Arnold Whittal, Gramophone, Jan. 2003)
- Lewensohn has rejected the demands of high modernism without being easily categorized as a postmodern. […] More importantly, it’s saturated in a very un-Kurtag-like expressionism. Indeed, the latter is a dominant mode throughout, even if it takes a number of listens to disentangle the various emotional registers. …Yet Lewensohn is no postmodern magpie, he works within his chosen tonal idiom. Always well made, the results are never less than interesting.
(Andy Hamilton, The Wire, Jan. 2003)
- Lewensohn writes painful, piercing music. He has a unique musical language which touches the open edges of the holocaust memory. He stands today at the top club of the Israeli Music, together with Zehavi, Shohat and Bardanashvili. A phenomena. Lewensohn means going deep into music.
(Hanoch Ron, YediotAcharonot)