“Entrancing…the composer describes the work as evoking a scene of standing on a mountainside during a snowfall. If you did not know this, though, you might still have been beguiled by the transparent scoring, the squiggling Morton Feldman-like string figurations that run through the piece, and the high-pitched sustained tones and rustling riffs that eventually collide into tremulous lyrical lines.” Anthony Tommasini, The New York Times

“The score by Mark Dancigers is creeping, majestic, and fantastical; it feels textured, like if you could touch the music, it would prick you.” Alexandra Villarreal, The Huffington Post

“elegiac…haunting.” Marcus Overton, San Diego Union Tribune

“A crystalline shimmer of notes that flickered among the players gradually broadened into longer phrases in Mark Dancigers’ “Thaw.” The piece was rich in beguiling timbres; one especially memorable passage paired Ms. Muhly’s [the cellist’s] spiccato bounces with twinkling crotales” Steve Smith, The New York Times

“The concert’s premiere, Dancigers’ The Bright Motion, hailed from Debussy’s sound world, but progressed in a minimalist spirit, with long, luxurious ideas (rather than punchy ostinatos) reiterated with modifications more felt than heard.” David Patrick Stearns, The Philadelphia Inquirer

“Stunning…" Sarasota Herald Tribune

"‘Everness’…awes with its descending figures that leap across a tense staccato surface, before a stretching thread of violin joins it to a more winding second half." PopMatters

"'Liquid Song', which began the concert...jumped and danced, conductor Justin Brown ensuring its intricacy and buoyancy." The Birmingham Observer

"I, too, am taken with Michael Mizrahi's "Bright Motion" album, and especially with the title work by Mark Dancigers." Alex Ross, The Rest is Noise

“"The music was played live on stage by Mark Dancigers alone, his electric guitar connected to a digital recorder that allowed him, in the moment, to repeat recorded phrases and add others in layers, creating a compelling, contemporary sound." Sarasota Herald Tribune

"‘Dreamfall’s' harmonies are tonal and the sounds from the instruments mostly conventional but always used with masterful imagination and delicate balance..." Don Clark, I Care if You Listen

"The title track by Mark Dancigers stands out. In the first movement, graceful arpeggios and poignant sustained tones build from wisps into an imaginative, dense fabric. A reverent chorale and barreling waves of low glissandi add gravitas as the melody grows fraught and searching until breaking into light, high descending patterns. The transition has the surprising loveliness of an out-of-season snowfall, and it contrastingly leads into an intense second movement." Ronni Reich, NJ Star Ledger

"[Michael Mizrahi's album The Bright Motion's] loveliest moments emerge during the title piece, especially the twelve-minute first part, which Dancigers composed specifically for the album in 2011. Stately trills repeat operatically throughout, creating wave-like effects whose lulling motions impart a dream-like, incantatory feeling to the material—bright motion, indeed. The delicate ending is especially beautiful.." Textura

"Mark Dancigers…contributed ‘Cloudbank’, a blend of attractive thematic bursts that mixes post-tonal modernism and jazz-tinged woodwind lines, and grows gradually more expansive." Allan Kozinn, The New York Times

"There’s an obvious challenge in the music’s mix of old, new and the exotic, and one that is rewarded by repeated listening as its interweaving of superficially contrary elements coalesce into something fresh and vibrant." Michael Quinn, The Classical Review

"...one of indie-classical's top shredders." Seth Colter Walls, The Awl

"The guitarist Mark Dancigers presented three of his ‘Electric Guitar Études,’ in which the finger-tapping techniques and digital effects of heavy metal were codified and structured into attractive miniatures." Steve Smith, The New York Times

“…when Mr. Dancigers…piloted a dive-bombing guitar solo into a plush thicket of horns — the results were irresistible.” Steve Smith, The New York Times