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Reviews and articles

The New York Times Reviews 'Nørgård in New York'

David Allen

" Saturday’s concert your ears could sense the intricate structures underlying the sounds, but they remained so elusive that you understood that structures in themselves were not the point. Instead, Mr. Norgard uses them to conjure atmospheres, precise and alluring... And best of all, the lulling force of the concert’s brief opener, “Prelude to Breaking” (1986), led by Mr. Sunderland, evoking the force and sheen of a wave sliding, roaring and pulling itself apart."

The New Yorker on 'Nørgård in New York'

Russell Platt

"The resulting music can sound at once naïve and visionary, maddeningly eccentric yet eminently sensible... A prevailing mood of bucolic lyricism is constantly challenged by slithering atonality and insistent, marchlike rhythms, only to fade off into mechanistic irrelevance. It could be a portrait of contemporary Europe: vaulted into a wild future, dragged back to an immemorial past."

The New York Times on 'Nørgård in New York'

Vivien Schweitzer

"The kaleidoscopic, enigmatic music of the Danish composer Per Norgard, 83, has been seldom performed in America until recently being championed by the New York Philharmonic and others. This week, a three-day festival called Norgard in New York offers an ideal chance to discover the visceral music of this fascinating composer."

The New York Times Reviews 'Sequenza 21'

Steve Smith

"The performers played with refinement and flair throughout a concert spanning diverse styles and configurations."


The New Yorker: The Simpson

Alex Ross

"The methodical fury of this music commands attention."


New Music Box: You Can Get There From Here

Frank Oteri

"In short, it was an ideal chamber music experience, and more enjoyable that most of the formal chamber music concerts I attended this year."


Synaphai: Lost Dog and Englishman

Glenn Gaudette

"One of the most enjoyable evenings of the year"


The New York Times: Critic's Pick 'The Vanishing Pavilions'

Vivien Schweitzer

"...the first complete performance of the work since Mr. Hersch debuted it in 2006...the dramatic, unsettling and emotionally potent “Pavilions” offers an expansive insight into Mr. Hersch’s dark-hued aesthetic"




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