John Zorn
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John Zorn (Photograph courtesy National Sawdust) "Love Songs: A Creation Story in Four Acts and Four Voices"National SawdustSept. 8, 2023 "We prefer pieces that play with the style and format of traditional profiles," the kind folks at National Sawdust told me when I agreed to write a preview story ahead of Love Songs, the new
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I recall writing this review, which predates this blog by just over two years, but I don't remember for what outlet I wrote it. I located it today on a whim – after posting the image you see above on Twitter – on Acoustic Levitation, an online journal edited and published by Steve Koenig, a
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Liza Lim (Photograph: Astrid Ackermann) Among the choice items included in today's Winter-Spring 2020 season announcement from The Kitchen was news of the latest installment in Density 2036, the enthralling 23-year commissioning program initiated by the industrious flute genius Claire Chase in 2014. Density 2036, part vii will be presented at Queenslab, a Ridgewood venue
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John Zorn: Masada Book 3 at the Town Hall, March 19, 2014The New York Times, March 21, 2014 The biggest surprise about this particular concert was the fact that I was there; I'd originally been scheduled to cover a different event, but a sick colleague prompted a last-minute shuffle, and here we are. Because of
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Tri-Centric Modelling: Past, Present and Future(Le) Poisson Rouge/Issue Project RoomNew York City, USAThe Wire, September 2010 There was surely one burning question on the minds of the audience who packed the chic New York City nightclub (Le) Poisson Rouge to capacity on a Friday night for the first evening of Tri-Centric Modelling: Past, Present and
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Hilary Hahn and Cory Smythe at the StoneThe New York Times, October 13, 2011 The video embedded above shows the grand finale of Hilary Hahn's holy-rolling "Ives geek-out party" (her term) at the Stone, John Zorn's East Village new-music space, on Monday night. Hahn's disc of Ives's four sonatas, recorded with Valentina Lisitsa for Deutsche
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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
Night After Night 