In brief.
An update, a record, a concert.
This continues to be a year of dramatic challenges, not least the evident climate crisis wafting outside our windows. In general I’m getting out to performances extremely rarely, and that won’t change soon. Yet even in such times, you have to stop now and then to take stock of the positive things: in my case, a loving family, solid friends, and an employer doing important work that’s easy to feel good about supporting.
Despite the near-complete silence in this space since April, I have been busy. If you plan to attend a concert by the Festival Orchestra of Lincoln Center this summer, you’ll surely see the program notes I provided; likewise the Manchester Music Festival, violinist Philip Setzer’s summer series in Vermont. It’s been gratifying to write for those presenters, and to maintain associations with the New York Philharmonic, Cleveland Orchestra, Houston Symphony, and BBC Proms, as well.
Just over a month ago here, I mentioned completing a publicity bio for a new album by pianist-composer Sova, Alight! Since then, I’ve had the honor of writing liner notes for a forthcoming release by another pianist and composer I’ve admired for many years, and another press bio for an exceptional project on the near horizon—details when the time is right.
Speaking honestly, I miss my previous career path fiercely sometimes, even though I’m rational enough to know it had reached a dead end. But the privilege and pleasure of talking to artists, and then framing their words for mass consumption, remains valuable no matter what forum engages me. I’m keeping that in mind as I contemplate what comes next, whether here or in some new and different format.
I’m not quite back yet today, but there are a couple of pressing things I have to tell you about right away.
Today is the release day for Trans Requiem, a beautiful, powerful, and deeply moving piece for cello, vocal soloists, chorus, and orchestra by Andrew Yee. Best known as the cellist for the Attacca Quartet, Yee has developed a steady side hustle as a solo artist, collaborator, and composer for a while now. Trans Requiem, introduced at Trinity Church Wall Street last September, is their biggest piece to date, and their most audacious, as well.
Melissa Baker, Trinity’s terrific director of artistic planning, has written beautifully about the makings and significance of the piece here. The concert, which took place on Sept. 18, 2025, can still be streamed in its entirety on the Trinity website, here.
I missed the concert, but when I watched the stream, the introductory comments by The Rev. Michael A. Bird put a lump in my throat:
“I’m not sure how many times each and every member of the clergy here and the music team here have been asked, why would a Trans Requiem be commissioned by a church, and why would it be performed in a church? Maybe you were thinking that yourselves, maybe… maybe you aren’t. But the reality is: how could we not?”
The recording, produced by Baker and New Amsterdam’s William Brittelle, captures the beauty and profundity of the piece and the performance ideally. Strongest possible recommendation. You can read more about Yee and Trans Requiem on I Care If You Listen.
Clarinetist Jeremiah Cymerman has been a significant musical citizen in New York City for about as long as I can remember, as a solo artist, collaborator, curator, technician, and one third of the heavyweight improvising trio Bloodmist. “A clarinetist and an ace sound designer, Cymerman crafts aural worlds of rare detail,” my friend and colleague Hank Shteamer once wrote.
Cymerman’s maintained a lower profile recently, or so it’s seemed from my own vantage point in exile. Turns out one reason is that he’s taken up the bass clarinet as his principal horn, and tomorrow evening – Saturday, July 18 at 6:30pm, to be precise – he’ll play his first public concert since making that change around a year ago, presenting a new piece for bass clarinet and analog resonators. The description is tantalizing:
Inspired by the compositions and deep listening practice of Pauline Oliveros, the performance explores subtle shifts in texture, resonance, and sustained harmonic interplay through the use of analog resonators and immersive electronic processing. The result is an intimate sonic environment that invites focused listening and contemplative attention.
The event is happening at the New York Insight Meditation Center (115 W. 29th St., 12th floor), a place I got to know intimately during a transformative Mindfulness Based Stress Reduction (MBSR) course a few years ago. The evening will begin with a guided meditation led by Anjie Cho.
“This music comes from a place of profound vulnerability, and sharing it feels less like presenting a finished work than opening a new chapter,” Cymerman wrote to his Bandcamp community earlier this week. I’m grateful to have the opportunity to participate, and as I write this, advance tickets are still available. A remote Zoom option is also being offered, but the real event will be happening in the space—read more and order here. (Note that advance ticket purchase is required; there will be no walk-up admission available.)
NYC event calendars.
By music lovers, for music lovers.
All Ears – classical, experimental & creative musics; monthly
Concert Net – indie-rock & eclectic; weekly
Dada Strain – creative & club musics, activism & community; weekly
Extended Techniques – experimental & creative musics; monthly
GUNKYARD – indie rock, punk & underground; monthly
Lament for a Straight Line – “Must See Three” jazz; weekly
New Music Calendar – contemporary concert music; continuous
ODEA – classical & experimental music; monthly
Thank you all.