Reviewing Cappella Clausura.
Boston Globe, December 19, 2011.

New England’s Prospect: Stolen Moments. The 2011 Boston Conservatory New Music Festival and BMOP cross paths with jazz.
NewMusicBox, December 13, 2011.

Reviewing Boston Baroque’s Messiah.
Boston Globe, December 12, 2011.

To judge by the portion of the audience that stood for the “Hallelujah” chorus, Boston Baroque’s audiences are far more contrarian than the Handel and Haydn Society’s: whereas nearly everybody stood at H&H’s performance, only about a third of the audience stood at Boston Baroque’s.

Reviewing the Firebird Ensemble.
Boston Globe, December 7, 2011.

Also, this:

With Every Christmas Card I Write. Culture, copyright, and quantum measurement.
NewMusicBox, December 5, 2011.

Reviewing the Boston Symphony Orchestra.
Boston Globe, November 25, 2011.

Reviewing the Boston Classical Orchestra.
Boston Globe, November 21, 2011.

New England’s Prospect: Don’t Mention the War. Sound Icon and the Sound in SPACE festival.
NewMusicBox, November 22, 2011.

Reviewing the Bang on a Can All-Stars, Trio Mediaeval, and Mantra Percussion.
Boston Globe, November 14, 2011.

The headline is a little misleading—if I did my job, the main takeaway should be as much about how much BoaC veers from hardcore minimalism while still acknowledging it. But “Timber” really does hit the same happy place that, say, Music in Contrary Motion did when I first heard it. (And, especially in the Hub, when you see that many people walking out, a comparison to Four Organs has been duly earned.)

Hey, I’ve been really lax on linking to stuff, haven’t I?

Reviewing the Cantata Singers.
Boston Globe, November 7, 2011.

Reviewing the Discovery Ensemble.
Boston Globe, November 8, 2011.

Reviewing Mykola Suk.
Boston Globe, November 11, 2011.

Reviewing Lang Lang.
Boston Globe, November 1, 2011.

New England’s Prospect: When the Working Day Is Done. Poe Night, Amanda Palmer, and Laurie Anderson.
NewMusicBox, October 27, 2011.

I considered making an actual bumper sticker of this, until I decided that the people I’d most often end up explaining it to would be the people I’d least often want to talk to.