“In music, there are always those people that you wish you could play with more. People who have something in their music that kinda calls your name, tugs at your sleeve, but that you don't seem to cross paths with very often. Diana is one of those... As a composer she is playful, whimsical, and serious all at once. Unexpected moments occur in her writing without seeming forced or contrived. If something happens, it's because the music wanted it there.

 

As for that wish I began with, I hope sometime soon to reconvene my "Orchestra of the Impossible", which performed exactly once...and when I do, I plan to ask Diana to be a part of it. Maybe that'll be a beginning."

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— Scott Robinson

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“Herold I could hardly take my eyes off of. She played lightning-fast four-mallet chords more accurately than other marimbists can pay with two mallets—for that matter, better than many pianists can play with 10 fingers. Never have I seen such an evening-length display of preternatural mallet virtuosity. Just as Handel’s Messiah is a better argument for Christianity than a thousand theological treatises, this committed musicianship sold you the politics whether you agreed or not.”

“Diana Herold, wields her faster-than-the-eye sticks with a power and authority that I’ve never seen another mallet player achieve.”

— Kyle Gann, [the] Village Voice

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“…particular standouts who handled Muhal Richard Abrams’ difficult charts with authority was percussionist, Diana Herold…”

— The Boston Herald, Bob Young

“…and a pungent vibes solo from Diana Herold.”

— The Boston Globe, Bob Blumenthal

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