| Date and venue | Title |
|---|---|
| 4-Jun-2013 Paul Hall | Ensemble ACJW performs Vivaldi, Prokofiev, Lang and Reich at Paul Hall |
 Inside Juilliard’s Paul Hall, a splendid spectacle of geometric juxtaposition greets the eyes. The wood-paneled interior is a busy mishmash of thin vertical rectangles and squares of varying sizes, whose right angles are further contrasted by a row of glossy spherical lights on each wall. Perhaps most eye-catching are the hall’s sharply protruding organ pipes, artfully arranged at varying angles across the stage.
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| 12-Apr-2013 Sage: Hall Two | Northern Sinfonia Late Mix: Contemporary America |
 On Thursday night, I reviewed the vast forces of National Youth Orchestra, playing big colourful works by European exiles in 1930s America. The following night, I was back at The Sage Gateshead to hear Northern Sinfonia’s clever little coda to this concert, performing contemporary American music as part of their Late Mix series, the huge orchestra and big tunes replaced by intricate chamber music that pushes the definition of music to its limits.
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| 18-Jan-2013 Cleveland Museum of Art: Gartner Auditorium | Kronos Quartet in compelling works by Reich and others at the Cleveland Museum of Art |
 The program page for Kronos Quartet’s program at the Cleveland Museum of Art on 18 January was typical of their concerts: a daunting list of mostly unfamiliar composers and every work either written or arranged for Kronos (David Harrington and John Sherba, violins; Hank Dutt, viola; and Jeffrey Zeigler, cello). Only Steve Reich and Laurie Anderson might have been familiar names to most audience members. There were voluminous printed program notes, rendered useless when the auditorium lights were completely dimmed for the concert.Read full review... | |
| 20-Nov-2012 La Maison Symphonique de Montréal | Experimental programming: 100 metronomes at the Maison Symphonique |
 Kent Nagano took to the stage tonight, microphone in hand, slowly becoming encircled by a forest of empty music stands, 50 in all. It is only natural to provide a word of explanation for a concert which contained Ligeti’s Fluxus piece Poème symphonique, scored for 100 metronomes, and Reich’s Clapping Music, amidst more standard works. In his usual melange of sincere French and his more comfortable English, he delivered a speech which was, if not long-winded, exhaustive in its description of the plan behind tonight’s concert and the works within.Read full review... | |
