International Contemporary Ensemble

  • Reinier van Houdt, by Michelle V. Agins for The New York Times Jacob Greenberg and Reinier van Houdt at Spectrum, March 25, 2014The New York Times, March 27, 2014 Two separate recitals by brilliant pianists heard most frequently in group settings: Jacob Greenberg with the International Contemporary Ensemble, and Reinier van Houdt in the Ives

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  • The second in an occasional (though not occasional enough) series that started with a blog post in October, here's another omnibus entry covering all of my writing for The New York Times between the Bard Music Festival in mid-August and the New York Philharmonic concert of November 14, both blogged up individually elsewhere. The first

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  • International Contemporary Ensemble, by Michelle V. Agins/The New York Times International Contemporary Ensemble at Miller Theatre, September 20, 2012The New York Times, Sept. 22, 2012 “Credit goes to the International Contemporary Ensemble…for finding a new and illuminating context in which to position Cage, by juxtaposing his music with a benchmark serialist composition by Pierre Boulez”

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  •   International Contemporary Ensemble, by Hiroyuki Ito/The New York Times   International Contemporary Ensemble at Rose Theater, August 5, 2012The New York Times, August 7, 2012 An amazing performance by the International Contemporary Ensemble, whose performances at the Mostly Mozart Festival this year mark the start of a tenth-anniversary season chock-full of musical marvels and

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  • Endless shout.

    Steven Schick playing "North Star Boogaloo." Photograph: Erin Baiano/The New York Times International Contemporary Ensemble: George Lewis Composer Portrait at Miller TheatreThe New York Times, November 14, 2011 Happy as I am with most of this review, I'm still kind of amazed that I managed to write an entire piece on George Lewis without once

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  • Double vision.

    International Contemporary Ensemble at Alice Tully Hall and the Kaplan PlayhouseThe New York Times, August 9, 2011 Everything about these two Stravinsky-centric concerts was hugely admirable. But the opening stretch of the Tully concert — an unmanned "player piano" piece seguing into four small-ensemble pieces in tight sequence, accompanied by thoughtful lighting design — was

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  • Shout it out loud.

    Photograph: Ruby Washington/The New York Times Joshua Bell with the Mostly Mozart Festival Orchestra at Avery Fisher HallThe New York Times, August 8, 2011 Along with the amazing Ruby Washington photograph you see above, my review of last Friday's Mostly Mozart Festival Orchestra concert is in The New York Times today. I'd previously stated that

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  • Long road.

    Photograph by Joshua Bright for The New York Times Kamēr… at the Baryshnikov Arts CenterThe New York Times, March 19, 2011 My thanks to Whit Bernard — director of development for the International Contemporary Ensemble and provocative blogger at Dolce and Gomorrah — for indirectly tipping me off about this sensational Latvian youth choir. (Longtime

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  • Wonderland in Alice.

    "At Tully Hall, the Norm Is a Festival"The New York Times, February 20, 2011 A very short preview of Lincoln Center's Tully Scope Festival, which celebrates the diverse range of things that Alice Tully Hall already does well, while also suggesting some of the ways in which Lincoln Center is trying to make better use

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  • Institutionalized.

    Stockhausen and Boulez at Darmstadt in 1962. Photo from The Guardian. The Week Ahead: Nov. 28-Dec. 4The New York Times, November 28, 2010 As plugged in this week's Arts & Leisure, the fine folks who bring you Darmstadt "Classics of the Avant-Garde" events sporadically throughout the year will open their third-annual Darmstadt Essential Repertoire festival

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  • String-driven thing.

    Hutchins East at the TankThe New York Times, June 1, 2010

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  • Day and night.

    New Jersey Symphony Orchestra at the New Jersey Performing Arts Center and Claire Chase at Weill Recital HallThe New York Times, April 24, 2010 Just because violinist Jennifer Koh and flutist Claire Chase both spend a great deal of time playing contemporary works — and playing them fiercely — is no reason to doubt that

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