Reviews and articles
"...at 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 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 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 performers — Christine Perea, flute; Thomas Piercy, clarinet; Miranda Cuckson, violin; Emily Brausa, cello; Laura Barger, piano — played with refinement and flair throughout a concert spanning diverse styles and configurations."
"The methodical fury of this music commands attention."
"In short, it was an ideal chamber music experience, and more enjoyable that most of the formal chamber music concerts I attended this year."
"One of the most enjoyable evenings of the year"
The New York Times: Critic's Pick 'The Vanishing Pavilions'
"...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"