"…Third was the first performance of a work commissioned by Mr. Hochman from his compatriot Menachem Wiesenberg, a nice, tightly wound piece called “Metamorphosis I.” It combined the agility of the Bach with the expressivity of the Berg, shifting from nervous energy to more lyrical expansiveness and back to a kind of jazzy syncopation without ever lingering too long over any one part
New York Times, by Anne Midgette reviewing Benjamin Hochman's recital at the Metropolitan Museum
"Eastern and Western styles were most fully integrated in Wiesenberg's compositions… His Trio for Oud, Cello & Piano engaged the three instruments in dialogue not merely about abstract thematic material, it was about the nature of the instruments themselves and the traditions from which they came, and it was deeply satisfying experience for serious listeners."
Washington Post, by Joseph McLellan
"The concert opened with an appealing 2-years-old Concerto da Camera-La Folia by the Israeli Composer Menachem wiesenberg...The finale is a hypnotic chorale-like some of the slow movements in Beethoven's late string quartets...Mr. Fisch and the orchestra gave a committed,beautiful crafted performance"
The Dallas Morning News, by Scott Cantrell
"…Compact and intense, highly chromatic works by Menachem Wiesenberg prove most compelling."
Los Angeles Times, by Daniel Cariaga
... ”According to the Romantic perception of ‘art for art’s sake’ music is not supposed to represent anything other than itself; above all, it must beware of being sullied by the slightest trace of political statement. The 20th century has proved that music, and art in general, can protest directly and fiercely on political and social issues, yet still remain autonomous and not become a placard or enlisted. The Concertino for ?d and piano by Menachem Wiesenberg is such a work: it may be grasped as abstract music, without a subtext, but in so striking an Israeli reality not only the sounds in it have become sharpened. In his Concertino Menachem Wiesenberg has created a rich blend of different kinds of instruments with strings – piano, ?d, and the string section in the orchestra, whose structure, no less their history, have far reaching stylistic implications. How may one reconcile worlds of sound and style so far apart? If Wiesenberg has succeeded in this, hope exists that the peoples represented by these musical instruments will succeed also; ... [he has done] it with music overflowing with beauty, surprising, filled with inspiration and imagination”..
Haaretz (Israel), by Noam Ben Ze'ev
...”they [Jerusalem String Quartet] played ... Between the Sacred and the Profane. Oh for more contemporary music such as this! It’s new. It’s exploratory. But it’s also enjoyable and approachable for any audience. In two sections, they played the opening as only Israelis can play, with deep fervor for the plaintive longing for Jewish homeland, faith and culture, the expression rising from a deep well of introvert passion. The mood changed, giving way to dance-like, song-like joy modeled from country wedding songs punctuated by eclectic rhythm patterns, stirring melody and some joyous scurrying from the two violins.”...
New Plymouth Daily News (N. Zealand), by Harry Brown
"The Jerusalem quartet injected life and enthusiasm into Menachem Wiesenberg's meticulously calculated Between the Scared and the Secular"
The Jerusalem Post, by Uri Eppstein
"…Accompanied by the exquisite Menachem Wiesenberg on the piano…"
The Jerusalem Post, by Michael Ajzenstadt
"… The emerging piece was as edgy as the three men's homeland is today: full of danger and distraction and relentless change, exciting to the point of irritation, but with moments of respite, beauty, even hope."
RhythmMusic, by Joel Segel