About Lullabye in review of Ahn Trio's "Groovebox" CD on EMI Classics:

"...a deeply expressive work."
- Evening Music with David Garland, WNYC, June 2004

"...very melodic and soft..."
- The Tack Online, September 2003

"...the unsuing Lullabye by Israeli-born composer Ronn Yedidia rivets with soul stirring sweetness."
- Nuvo.net news, June 2003

"elegiac"
- Fanfare Magazine, May 2003

"hauntingly lyrical"
- The Indianapolis Star, April 2003

"The final work, Yedidia's Lullabye, is a fitting close to this album; an intensely moving tribute to the composer's generation before (not only his, but our own today) who are slowly departing from the world and taking with them life experiences and knowledge that we will never find out about."
-Audio Mercenary, Brisbaine, Old Australia, 2003

"Groovebox's closer is Ronn Yedidia's Lullabye, a beautiful work that tells us that the show has come to an end...Lullabye brings us down gently and lulls us into comfort and complacency. The Ahn Trio works the emotional piece into equal parts of bitter longing and reflection to great effect."
- Music Tap (presented by The Digital Bits), April 2003

"In the Yedidia 'Lullabye', we heard a painfully beautiful song...Simple lines developed into an expressive canvas of emotion that remains poignant in memory. It's not the complexity that astonishes, it's the detailed dovetailing of lines, of sounds, of melody, intricately and luxuriously woven. It was silent serenity, specifically transcribed for Ahn sound."
- The Virginia Gazette, Williamsburg, April 2003

"somber, melodic"
- Jet Setter Magazine, February 2003

"Lovely"
- The Seattle Times, February 2003

"mysterious"
- Paul Duffy, amazon.com, December 2002

"wistful and gentle"
- Classics Today.com, December 2002

"A Precious and timeless work."
- Asian American Press, December 2002

"Ronn Yedidia's sweet Lullabye closes the CD; it's complex and sweet, a benediction on the souls of those who have gone before. It's also a smart choice for the Ahns, who offer this tender psalm with unsentimental grace."
- iclassics.com, November 2002.

Other Reviews:

"Just as the Trio's scoring is unique, so is its style: a romantic composition in the vein of 19th and early 20-century masters... It is a brave thing to do, even in these pluralistic days, particularly music that is so retrograde in content and matter.  The most important thing, once prejudice about returning to the past is put aside, is the question: Does the piece work without sounding like a cliche or a pastiche of old mannerisms ? - It does.
Putting the clarinet in the place of the violinist is a novel idea and while the instrument does not make quite the impact of the latter, it lends character. Yedidia is comfortable in this idiom and writes well in it, without apology or fuss. He has melodic ideas, which he expresses with finesse, and enough edge to give contrast to those smooth-limbed pleasantries. In fact, some of the most compelling writing came when he was in that mode."
(following the world premiere of Trio for clarinet, cello and piano)
- Seattle P-I, July 2007

"Taking a symbolic trip to the Middle East after intermission, the Ahns played 'The Song on the Land', New York based composer Ronn Yedidia's lovely, melodic nostalgia trip about Israel, apparently his home away from home."
- The Indianapolis Star, September 2005

"The Arabesque by Yedidia is delightful... and the Lullabye for alto flute and piano is sensual."
(about the release of Arabesque and Lullabye on the CD "Prevailing Winds")
- Flute Talk Magazine, May/June 2004

"Ronn Yedidia's 1997 Rondo Macabre which came before the Prokofiev on the second half, certainly suggested why Lara St. John appealed to the folks at Sony Classical: I don't think I've ever heard a piece fuller of opportunities for violinistic vamping, and St. John was definitely not one to leave a phrase unvamped... as musical spectacle it was pretty well irresistible - the fast bits and the sultry bits alike."
-San Francisco Classical Voice, May 2004

"His Grand Etudes (for solo piano) are quite amazing... I'm also amazed by his Toward The Gardens Of Heaven. To my mind he is one of today's greatest living composers ! Gorgeous and powerful music !"
-Scott Sheppard, 2004

"...a stunning new work by the Israeli composer Ronn Yedidia!"
(about Piano Sonata No. 3, Outcries)
- Frank Salomon Associates Roster of Artists 2003-2004

".. It was a tuneful number, expertly crafted in an aggressive salon style. The Pollack Hall crowd got a kick out of it."
(about Lara St. John's Canadian premiere of Rondo Macabre)
- The Gazette, Montreal, April 2004

"Especially enjoyable was Mr. Yedidia's Waltz, of which he and cellist Glowacka delighted us with an encore."
(about Waltz for cello & piano)
- The New Music Connoisseur, September 2003

"...a technical showcase, expressing all levels of dynamics as well as complicated brilliance, speed, flashing jazz accents and unbridled emotion. One never felt that the technique took over from the sensitivity and expression of the music." (about Piano Sonata No. 3, Outcries, as performed by Alon Goldstein)
- The Pilot, North Carolina, October 2002

"Boulez, Messiaen, Schoenberg and Glass take their turns in this energetic work...A technical showpiece." (about Piano Sonata No. 3, Outcries)
- The Birmingham News (USA), May 2002

"Nothing drove that home like Outcries, the Sonata No. 3 by one of Alon Goldstein's fellow Israelis, Ronn Yedidia. It poured out in a single, tempestuous stream of consciousness...A drama!"
- Orlando Sentinel, February 2002

"Marc-André Hamelin...believes that Frederic Rzewski's "The People United Will Never Be Defeated" and Ronn Yedidia's Third Piano Sonata are miracles of contemporary writings."
- "The Composer-Pianists" by Robert Rimm, 2001

"The superb encore, a piece by Ronn Yedidia, was played with great sensitivity." (about Lullabye)
- Ha Aretz, Israel, April 1996

"The peak of Marc-André Hamelin's recital was the Third Sonata, "Outcries", by the Israeli born composer Ronn Yedidia...The work is of an undeniable modernism, but accessible; that of one who definitely has something to say...the Yedidia transformed the evening into a real event."
- La Presse, Montreal, Canada, July 1991

"Highly crafted, emotionally engaging work" (about Black Snow)
- New York Newsday, April 1991

Biography in "American Keyboard Artists" as composer, educator and performer.
- 1989 and 1991 editions

"Yedidia's concerto recast the Lisztian virtuoso piano concerto in a contemporary medium...the Concerto lasted just under 30 minutes, but Yedidia's wealth of invention and compact construction justified the duration. (It was) comparable with the restless Expressionism of early Schoenberg and late Scriabin,...the composer has his own voice."
- Los Angeles Times, July 1990

"When he played his composition, "Prophets", Ronn Yedidia captivated us with his amazing technique and musicality."
- Ha Aretz, Israel, August 1989

"Constantly fascinating" (about Piano Sonata No. 3, Outcries)
- Ma'ariv, Israel, January 1989

"The height of the evening...real expressiveness which stems mainly from the musical language as well as the instrumental nuance...the work admirably contends with some of the basic problems of contemporary music." (about Piano Sonata No. 3, Outcries)
- Ha Aretz, January 1989