Press


INTERVIEWS:
Brain-damage.uk, November 2014.
Ynet, February 2013 (Hebrew).
Jspace, September 2012.

REVIEWS:

Firefly Elegy (2018)


“All very clever, a good intermingling of harp, clarinet and string trio.
Yet it was the end, a longish coda, which was most touching . . . Thus the almost lugubrious final fatalistic lament with a stunning reprise of the first theme." (Harry Rolnick, Concerto Net, March 15th 2018)

“What I found enthralling about this piece as a whole was that it brings us down to the level of a tiny bug; here nature is ferocious and raw, but the lives of insects are so small that we don’t normally give them much thought. Music has the power to bring us to a completely different world, and that is what the [Israeli Chamber Project] did here." ( Monica Mendoza, Performing Arts Monterey Bay, March 27th 2018)

“. . . Firefly Elegy — arranged for harp, clarinet and string trio — carried itself with an undeniable briskness and a contemporary flair while it also traversed older classical currents and found moments of attractive repose." (Sean Piccoli, New York Classical Review, March 16th 2018)

Around the Cauldron (2016)

“Cohen's work is a charming combination of wit and color. He seems to relish exploring instrumental sound and also teasing out different relationships between the players." (Susan Hall, Berkshire Fine Arts, March 15th 2017)

"Mr. Cohen captured the bubbling witches’ brew and sinister cackles in a creative and accessible way . . . the seven movements of this piece blended together in a continuous flowing stream." (Town Topics, July 26th 2017)

Three Goat Blues (2015)

“Gilad Cohen’s Three Goat Blues is perfectly paced, flowing gracefully from one idea to another, all the while working with an old Provencial prayer tune, 'Had Gadya'." (American Record Guide, July/August 2018)

“[Apollo Chamber Players' album Ancestral Voices] introduces four excellent new string quartets . . . Gilad Cohen’s deeply seeking Three Goat Blues succeeds at being an effective cover tune by drawing on an entirely different set of roots, represented by Passover prayers and fables, and by the quiet beauty he finds in ancient Provençal Jewish tunes." (
Laurence Vittes, Gramophone, March 2018
)

Ten Variations (2011)

“Blending klezmer sonorities with classical constructs and pop-theatrical flair, Israeli composer and pianist Gilad Cohen's music perfectly encompasses this new contemporary-music outfit's
[Ensemble 20-21] multicultural mission."
(Time-Out New York, March 15th 2012)


Quintet for Bass Guitar and Strings (2008)

“The piece was filled with excitement from the trembling start of the “Andante" to the ebullience of the “Largo Sostenuto". Paired with Coale’s thumping bass, the composition felt at turns completely new and totally familiar. It was, in many ways, the most successful work of the evening, precisely because it labored no points and lacked any pretension... If only everything could be so unabashedly fun".
(Laura Wasson, Feast Of Music, 3/13/2012)

“A fascinating dialogue between the chamber ensemble and the soloist – an instrument identified with pop and rock music. The common model of a string quartet and a soloist is going through a metamorphosis. The composer adopts the bass guitar into the string instruments family, and turns it at times into a melodic instrument while exploiting its full technical potential. Inside an allegedly classical form, there are elements of jazz, traditional voice leading and orchestration of contemporary motifs strung together".
(Israeli Prime Minister Award committee, 2010)

"Gilad's writing is very interesting, original, unique, contemporary and connected to today's world... The music is very Israeli... The composer makes an extraordinary use of all of the instruments. The resulting combination is very colorful and effective, creative and innovative. The piece is so unique, that it keeps the listener intrigued from beginning to end..."
(Israeli ACUM Prize committee, 2008)


Trio for a Spry Clarinet, Weeping Cello and Ruminating Harp (2010)

". . . modern piece of gorgeous colors of klezmer and folk music. "
(Dobi Ildiko, Parlando (journal of the Hungarian Musicians and Dance Artists Union), 2/25/2018)

"The most interesting part of the concert - and the one that received a highly enthusiastic reaction from the audience - was the [Israeli] premiere of a piece which was written especially for the [Israeli Chamber] Project... No doubt, it is a discovery. Cohen's Trio is packed with fascinating ideas and full with emotion and humor".
(Nick Shadow, Telavivcity.com, 6/21/2010)

“In this piece the acoustic instruments are exceptionally orchestrated in a varied rhythmic and melodic richness. The use of traditional way of playing is combined with unusual sonorities in both combinations within the ensemble and individual instruments".
(Israeli Prime Minister Award committee, 2010)


Double Space – Windings (2006)

“Excellent debut album… which is probably the most significant piece of music recorded in this country in the last decade... Brilliant compositions including weird time signatures and unexpected twists and turns… The vocals… are expressive and very sensitive to the complex lyrics. The maturity and the intellectual stamina of this project are truly astounding, especially in view of the young age of its participants… This is another most welcome addition to the local scene.“
(Adam Baruch, www.jazzis.com, 3/27/2006)

"Ah... So much fun, such a magical album, such windings... More than 20 musicians join together in the current piece, which includes brilliant compositions and poems. Each song stands here by itself, and winds to a different direction. In one song there's a children choir, and in another sounds of oud and oboe. The rhythm keeps changing and correspond with Shlomo Grunich and Shem Tov-Levi, the Hebrew comes back to life and the Israeliness is drawn in its best. The bottom line - an Israeli pride!"
(Windings in 106FM's list of the prog albums of the decade. Assaf Kaplan, 106FM)

"Windings is a magnificent album for this genre’s fans… All the performances are clear and clean, and show amazing performance abilities of the members… It’s obvious that this album has to be pressed on vinyl, because in 50 years it will be considered a classic. These are exactly the materials that collectors will be looking for in the next generation, and it is recommended for everyone who has a sentimental soul to get his hands on a copy"
(Aviyahu Gaon, The Cube website, March 2006).

"Although they didn't have any support from the big record companies, Windings is a rich, deliberate and devoted album... an album which is a longing for the time when music was created from the heart and not as a commodity for the crowds... They should be appreciated for their ground-breaking and their ambition to do something different than the ordinary…"
(Ronen Tsumer, Ynet, 2/23/2006)

"They are talented, open-minded musicians, who are influenced by a wide variety of styles… The result is extremely impressive, and points out composition and arrangement talents of the highest level… They should be congratulated for the independent, non-compromising way, in which they arrived to their debut album, and for their belief that it is possible to make artistic and deep music in Jerusalem without any municipal or major label support"
(Yuval Gershtein, Achbar Kol-Hair, January 2006).


Ballade for Piano (2008)


“Cohen is only 32 years old... [and] is already making a mark in the world... In many ways, this was my favorite work on the entire concert program."
(Robin McNeil, OpusColorado, October 13th 2012 )


The Good Person of Setzuan (2010)

“Sometimes the music is unobtrusive; sometimes, compelling. It is lean, purposeful, and transparent. All the notes are there, and no sound seems superfluous. The excellent instrumentalists are composer Cohen, guitar and melodica…"
(Elaine Strauss, U.S.1 Newspaper, 11/17/2010)

“An ambitious and appealing addition to the production is the original music composed by Gilad Cohen... Particularly effective is the regimented number that accompanies the extended portrayal of Shui Ta’s tobacco factory".
(Joseph Dexter, The Daily Princetonian, 11/18/2012)
Al Mishkavi Ba-Leylot - for mixed choir and orchestra (2006)

"For the sake of hearing Matti Kovler's UMB and Gilad Cohen's "Al Mishkavi BaLeylot" for vocal ensemble and orchestra, it was worth coming to this concert".
(Hagai Hitron, Haaretz, 3/3/2006)


The Israeli Prime Minister Award for Composers (2010)

"The young composer Gilad Cohen brings into his music freshness and innovation from original and surprising directions. He unveils new facets within the widespread traditional music in pieces full of inspiration and acoustic imagination. Through technical mastery and excellent writing facility, Cohen creates a personal language fusion that has a unique dimension which is a result of his familiarity with other genres of contemporary music. His music is fascinating, vibrant and draws the ear as well as the heart".
(Israeli Prime Minister Award committee, 2010)