Also here is a sort-of-solo work called Piece for Clarinet and Tape (1975), in which Gary Dranch’s instrument engages in the usual wide leaps and squawks typical of a certain kind of contemporary extend-the-instrument-beyond-its-comfort-level composition, while the electronics blip and burble above, below, in front of and beyond the wind instrument. Read More...
— The Infodad Team,
Infodad.com Family-focused reviews
Lush Sonics and Angst-Fueled Grandeur from the Greenwich Village Orchestra
All that seemed like an afterthought in light of the showstopper they made out of Sibelius’ Symphony No. 1. Yahr reminded the crowd that although Sibelius is known for vast, sweeping vistas, and picturesque panoramics, the portait this symphony paints is an interior one, uneasy to extremes. Verging on manic depression would be another way to put it. Gary Dranch‘s clarinet, plaintive and searching, opened it and provided calmly chilling moments throughout, as the ensemble pounced and swept their way through racing flurries of strings and eventually a mad dash upward as the opening movement hit one of its many peaks.
— Instant Encore - Classical Music Buzz
"Dranch performs [the Wolff] beautifully with an ease and effortless quality that matches the style of the work exquisitely. The string ensemble is clear, clean and crisp throughout. Dranch's sound is amazingly dark and without edge even in the altissimo. Dranch's perfect intonation and control in the slow sections [in the Bavicchi] is notable and the performance by soloist and orchestra alike is admirable...[Hindemith's Concerto] is a welcome conclusion to this CD... Read More...
— Gail Lehto Zugger,
The Clarinet, March 2007
'Buenos Aires Herald' - March 23, 2005 by Pablo Bardin: "[...... The excellent US clarinettist Gary Dranch made his local debut last year and was certainly a very proficient player. ...]"
— Pablo Bardin,
Buenos Aires Herald
Gary Dranch’s wonderful interpretation is worth noting, as is his interest in expanding the repertoire of the instrument by commissioning works of such rich melodic and rhythmic qualities. A most beautiful CD, which demonstrates faithfully the music of South America and the excellent quality of its interpreters.”.] - Highest rating: three quarter-notes. Read More...
— Leandro Suarez,
‘THE CLARINET’ journal – June 2001, page 18: “Audio Notes” by William Nichols. “I am pleased to have received a disc from clarinetist Gary Dranch entitled Concerto a Brasileira, which presents Brazilian guitarist and composer Daniel Wolff. […] Read More...
— William Nichols,
'The Clarinet' Journal
[Excerpt: “The end of the CD highlights Daniel Wolff again as creator. This is achieved through the Concerto for Clarinet and String Orchestra, a work dedicated to American clarinetist Gary Dranch, who performs it brilliantly”.] Read More...
— Tribuna da Imprensa, Rio de Janeiro, December 13, 2000.
Violao Intercambio #45 / Sao Paulo – January/February, 2000: [Excerpt: “The last work on the CD is his [Daniel Wolff’s] Concerto for Clarinet and String Orchestra, with Gary Dranch as soloist, an extremely beautiful work, transparent throughout its span and played with mastery by this excellent clarinetist.”]
— Violao Intercambio #45
Lush Sonics and Angst Fueled Grandeur from the Greenwich Village Orchestra
"Gary Dranch's clarinet, plaintive and searching, opened it [Sibelius Symphony No.1] and provided calmly chilling moments throughout..."
Lucid Culture. Jazz, Classical Music & The Arts in NYC
20th Century Clarinet Concerto
"...well-played...the Ulbra Chamber Orchestra and Buenos Aires Philharmonic play proficiently" --Turok's Choice - April 2007
— Blogger Musical
"Works for me."
"Gary Dranch & Friends"
(Mostly) French Chamber Music
— New York Concert Meister Blogspot
Review of Gary Dranch’s New York debut recital at Merkin Concerto Hall on November 19, 1990:
[Excerpt: “Clarinetist Gary Dranch invited a large group of friends to participate in his debut, […], a wise choice, enabling him to play an interesting, varied program and to demonstrate his affinity for many styles, as well as his talents as a chamber musician.[…] In Martinu’s Sonata[sic!] there was fine ensemble, and the work’s charm and characteristic rhythmic quirkiness came through very well. For Mozart’s Trio K.498, they were joined by violist Jacob Glick for an expressive, warm performance. […] For the final piece, with violinist Katherine LiVolsi and cellist Michael Finckel, was Jean Francaix’s Quintet, a fun piece, full of mischief and charm.[…]”
— "Strings" - May-June 1991: by Edith Eisler.