Reviews and Comments about Dianne's Music
- Diane Andersen, Concert Pianist, “Grande Dame of Belgian Pianists”
“Much has already been said and written about Dianne Goolkasian Rahbee's music, but to me its important quality is the conciseness of ideas; the Fourth Sonata Op.128 being a very good example of this.... Each part of the Sonata is an emotional world in itself, depicting in a few seconds, a lifetime's experience of love, passion, tenderness, anger, and even rebellion! ...Each performer has the freedom to display his or her technical and emotional brilliance; no struggle with the keyboard, nothing complicated, only the joy of playing. This Sonata holds treasures -- visible and hidden. It makes each performance a new discovery.
-- Diane Andersen, Brussels July 10, 2004
- Rudolf Firkusny Concert Pianist at Juilliard
“ I was very impressed by your work and consider it a highly valuable addition to contemporary piano literature.”
- Gary Graffman, Concert Pianist and Director of Curtis Institute
“ ...this is pianistic and well-crafted music which communicates to an audience. “
- Maurice Hinson in “ Guide To The Pianist’s Repertoire ”
“ Goolkasian Rahbee has written some of the finest pedagogic material this writer has seen. “
- Phyllis Alpert Lehrer, Concert Pianist, Westminster Choir College, Princeton, N.J.
“Dianne Goolkasian Rahbee has provided us with a wealth of colorful and imaginative recital pieces. As teachers and pianists we can sense her intimate knowledge of the keyboard in these thoroughly pianistic works ... It was a privilege to premiere her Phantasie-Variations Op.12."
- Martin Canin, Concert Pianist at Juilliard
“...a fine selection of pieces very charmingly and skillfully written having much appeal...”
- Michael Steinberg (1972)
“...What really pleases me about TARANTELLA is that when you have taught it, learned it, or whatever, you have a real piece of music which is pleasing and fun to play and hear... you are to be thanked for adding to the literature which is practical from a pedagogical point of view, but which instills some sense for quality (in a very modest way, that puts you in a tradition that runs from Bach to Bartok, and that’s no bad place to be).”
- American Music Teacher Journal (October 1987)
about “Three Intermezzi Op.18, No.3; Op. 21. Nos. 1&2”
“...ingratiating works...solid teaching pieces... even a mature player will find the composer’s performance instructions challenging.”
- New York Times 1982 Bernard Holland
about “Phantasie-Variations Op.12”
“ The Phantasie-Variations was post-serial in its persuasion, but its lovely feeling for piano color and its often lazy, lyric quality never sounded didactic or oppressive.”
- Piano Quarterly (spring 1984)
Pictures Op.3 ...Excellent practice and performance ideas by the composer are directed to the student. This is a distinctive collection that has much to offer the late elementary student.
- Piano & Keyboard (July/August 1996) Bradford Gowen
SEDA 333 CD ... Hers is a compositional style in which neoclassicism and neoromanticism meet, along with an ethnic flavor - the influence of Armenian, her first spoken language... expressive intentions are straightforward to communicate feelings, whether through high energy or, more often, romantic lyricism.
...Rahbee's treatment of the keyboard is unfailingly pianistic....She has learned how to fit the hand to the keyboard and how to create liquid sonorities as well as occasional quasi-barbaric percussiveness. Her greatest ability as a keyboard composer is to create these pianistic results using relatively few notes. Thus, these pieces are far more accessible technically than most serious piano works of the 20th century.
- EPTA Piano Journal Volume 16 1996 Simon Jenner
SEDA 333 CD... Rahbee is a discovery. Her Sonatas, Sonatina, Intermezzi, Preludes,etc. proclaim a predictably traditional musical language, slightly steeped in serial academia. What makes it individual ia a neo-tonal musicality wedded to a rhythmic drive recalling Martinu, Griffes (especially in the first Sonata) as well as Copland’s Variations (to which Rahbee’s fine Phantasie-Variations have been favourably compared !) Outstanding is the Sonata No.1 and the Sonatina.
about “Phantasie-Variations Op.12”
“...very appealing...Schoenbergian efficiency. One is easily reminded of the big gesture and the efficiency of the Copland Variations, but the work’s appeal is that it is of a warmer, less “epic” nature than the Copland.”