PRESS

ON "MULTITUDE, SOLITUDE" (ALBANY RECORDS):

"To judge from this powerful new compilation, the music of young American composer Eric Nathan would seem to be as diverse as it is arresting. [...] Yet as multifaceted as the composer’s stylistic voice may be, there’s a constant vein of ingenuity and expressive depth through the entire lineup, and the performances are splendid throughout."

- Joshua Kosman, San Francisco Chronicle (1.3.16)
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"...hauntingly beautiful ... otherworldly"

- Barry Kilpatrick, American Record Guide
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"Eric Nathan — on the evidence of “Multitude Solitude” (Albany Records) — is among the new American voices worth hearing in solo and chamber compositions [...] The expert performances reveal a young composer with his own style and certainty, forthright, never overbearing, but at the same time not burdened by excessive reserve."

- Jay Harvey, Upstage (12.24.15)
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"It’s already a must buy."

- George Grella, New York Classical Review (9.21.14)
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"mesmerizing...dazzling"

- The Brooklyn Rail (10.15)
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"...strikingly haunting... invites repeated listenings—four so far!"

- Bob Neill, Positive-Feedback.com (11.15)
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"...Eric Nathan reflects on the tormented, avant-garde Renaissance composer Carlo Gesualdo in a piece that dramatizes the push-and-pull between past and present."

- Thomas May, Rhapsody (11.15)
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SELECTED PRESS:

"Engaging, from a voice we will hear more of."

– David Allen, The New York Times (11.20.2016)
on "the space of a door" with the Boston Symphony Orchestra
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"...thoughtful and inventive..."

- Russell Platt, The New Yorker (10.2015)
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"... a paragon of the concert-going experience: excellent music that was entirely fresh and new (to this listener), played with skill and élan [...] Nathan’s compositional voice came through with clarity, confidence and strength. Nathan’s music is clear, consistently logical no matter how surprising the direction, and emotionally expressive without being simplistic or sentimental. His pieces are direct but not abrupt, and have the kind of excellent proportions that leave one thinking that the music ended exactly where his ideas finished."

- George Grella, New York Classical Review (9.20.2014)
On a Nathan portrait concert at the Tenri Cultural Institute (New York City)
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"The short piece shimmered in sweeping gestures. [...] and a sense of awe twinkled throughout."

– Zoë Madonna, The Boston Globe (11.9.2016)
on "the space of a door" with the Boston Symphony Orchestra
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"All I know is Saturday's concert ranks up there as one of the most memorable and pleasurable performances I have ever attended. [...] Equally impressive, Nathan's new work, "The Space of A Door," more than held its own and stood out as one of the best new classical compositions I have heard in years. 

New classical compositions can sometimes be hit or miss. Some new music can be too experimental. Other times, some composers don't take enough risks. Nathan's composition strikes just the right balance. Commissioned by the BSO and performed at the start of the program, this beautiful orchestral work seamlessly covered a wide range in a brief period of time. The string section in particular vividly brought Nathan's sustained notes and subtle rhythms to life. Even the silences in Nathan's piece helped build towards a dramatic finish, which Nelsons made even more compelling by holding his hands in the air and letting the silence of the piece slowly settle in. [...] All I can say is it's night like these that make me feel fortunate to be alive."

– Ken Ross, The Republican (Mass Live.com) (11.13.2016)
on "the space of a door" with the Boston Symphony Orchestra
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"Nathan’s music is clean and shot through with rhythmic vitality that recalls the music of his mentor, the late Steven Stucky.  Like that buzzing chamber score, the shape of a door conjures images of a physical space–in this instance a large cathedral as experienced when entering through the large entryway. The piece, which runs to eleven minutes in length, is filled with resonant harmonies that are left to hang in space.

As with Stucky’s style, its formal design and dramatic shape is seamless. An opening twinkle in the strings explodes into a wall of sound rife with brassy fanfares and bright orchestral colors. Wind riffs dominate the inner sections, but they are fractured, and, at times, dissolve to little more than single notes sounding in quick crescendos. A driving section follows where lightening passages shoot about the score. The piece closes on a single sustained pitch left to float in the air like a cloud. Nelsons led a reading of bold commitment, and the audience showered Nathan with warm applause when he took the stage for bows."

– Aaron Keebaugh, Boston Classical Review (11.9.2016)
on "the space of a door" with the Boston Symphony Orchestra
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"The contrast between the two movements was expressively pointed, evoking the built-in frustration of experience: the first movement’s sensory overload, the second’s poignantly incomplete memory. Thus the attraction and vexation of music: We never quite get it all, and we never quite remember what we get. No wonder we return, again and again. “Why Old Places Matter” certainly made a convincing case for a repeat visit."

- Matthew Guerrieri, The Boston Globe (1.13.2015)
On "Why Old Places Matter" with the Boston Symphony Chamber Players
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"...but even in its aggressive bursts, there was a welcome smile in the music, down to the cute little pips of noise near the end."

- Zachary Woolfe, The New York Times (6.4.2014),
“As Above, So Below” at the New York Philharmonic Biennial
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"... sounds of the North Sea and seagulls overhead may be heard among the textures of this richly evocative piece."

- Patrick Rucker, The Washington Post
on "Multitude, Solitude" for string quartet (1.11.2015)
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"...a handsomely wrought evocation ..."

- Steve Smith, The New York Times
on "Four to One" for string quartet (1.9.2013)
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"Nathan’s exquisite ‘Cantus’ is emotion laid bare, using electronics to create a [...] sonic landscape of trumpet sounds and fears."

- Laurence Vittes, Gramophone Magazine (2.2010)
CD Review of "Cantus" on John Adler's "Confronting Inertia"
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"Tuna tartare and foie gras mingled with pomegranate, tucked under a sheet of quince paste and flanked with slices of a sweet custard, were paired as a second course with a piece by the young composer Eric Nathan, called “Glimpse,” which sent instrumental sounds zinging with comparable zestiness."

- Anne Midgette, The Washington Post (2.9.2017)
On "Glimpse" with the National Symphony Orchestra
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RECENT PRESS:

MassLive.com, "Review: Yo Yo Ma, Emanuel Ax and others shine in Schubert concert at Tanglewood," by Ken Ross (August 4, 2017)

TheaterScene.net, "The New York Virtuoso Singers: Morton Gould/ASCAP Young Composer Award Recipients," by Jean Ballard Terepka (May 28, 2017)

The Washington Post, "How fine dining amplified one classical performance," by Anne Midgette (February 9, 2017)

The New York Times, “Review: Brahms at the Boston Symphony, With Hélène Grimaud,” by David Allen (November 20, 2016)

MassLive.com, “Review: Helene Grimaud, Boston Symphony Orchestra Brahms concerts beautiful,” by Ken Ross (November 18, 2016)

MassLive.com, “Review: Helene Grimaud, Boston Symphony Orchestra at their best with Brahms,” by Ken Ross (November 12, 2016)

The Boston Music Intelligencer, “BSO Opens Brahms Mini-Festival,” by John Ehrlich (November 10, 2016)

The Boston Globe, “BSO offers poignant election-night respite,” by Zoë Madonna (November 9, 2016)

Boston Classical Review, “A premiere and a persuasive start to Brahms cycle from Nelsons and BSO,” by Aaron Keebaugh (November 9, 2016)

The Juilliard Journal, “A.B.Q. Premieres, New Cafeteria Era, Softball Season,” by Joshua Simka (October 2016)

Milford Daily News, “An array of talented pianists highlight BSO's new season,” by Keith Powers (September22, 2016)

Boston Globe, “Andris Nelsons, lifting the baton with the BSO,” by Malcolm Gay (September 22, 2016)

Rhinegold Publishing, “New works for organ receive premieres in Notre-Dame,” by Katy Wright (August 10, 2016)

Seen and Heard International, “Aspen (8): Musical Detours: From the Renaissance to Prokofiev, From Ives via Piazzola,” by Harvey Steiman (August 2, 2016)

Brown Alumni Magazine, “Music for the Angels,” by Gillian Kiley (Summer 2016)

News from Brown, “University organist Mark Steinbach plays the Cathedral of Notre Dame in Paris,” by Gillian Kiley (July 5, 2016)

The New York Times, “Review: Jennifer Koh Asks 32 Musicians to Respond to Paganini,” by Corinna da Fonseca-Wollheim (June 1, 2016)

Brown Daily Herald, “Students travel to Berlin, Vienna for taste of local arts: Jazz band performances, local theater productions punctuate German studies department trip,” by Ethel Renia (April 5, 2016)

Boston Classical Review, “Thomas Adès to join BSO as artistic partner in 2016-17 season,” by Aaron Keebaugh (March 10, 2016)

Boston Globe, “At BSO, a new season and a surprising new partner,” by Jeremy Eichler (March 10, 2016)

American Record Guide, “Nathan,” by Barry Kilpatrick (January/February 2016)

San Francisco Chronicle, “Eric Nathan, ‘Multitude, Solitude’,” by Joshua Kosman (January 8, 2016)

Jay Harvey Upstage, “Eric Nathan proves his mettle as a composer of unique skills in music for one player and more,” by Jay Harvey (December 24, 2015)

Rhapsody, “Best of 2015: Top 10 Classical Discoveries,” by Thomas May (December 22, 2015)

The Wall Street Journal, “Minimalist Music’s Liquid Architecture: An interdisciplinary performance of Terry Riley’s ‘In C’ at the RISD Museum,” by Stuart Isacoff (December 16, 2015)

The Daily Campus, “UConn Wind Ensemble captivates audience at breathtaking winter concert,” by Helen Stec (December 4, 2015)

Rhapsody, “Top 10 Classical Albums, November 2015,” by Thomas May (November 2015)

The Brown Daily Herald, “Showcase features classical and modern acts: Music faculty delights audience with trumpet, piano, multimedia synthesis,” by Corey Hebert (November 13, 2015)

Positive Feedback, “Notes of an Amateur: Podger’s Biber, Gli Incogniti’s Vivaldi, Brahms; Schumann by Faust; Melnikov, Eric Nathan,” by Bob Neill (October 23, 2015)

The Brooklyn Rail, “Highly Selective Music Events,” by the Editors (October 2015)

The New Yorker, “Goings on about town: New Music at (Le) Poisson Rouge,” by Russell Platt (October 2015)

Night After Night, “Playlist,” by Steve Smith (October 6, 2015)

Seen and Heard International, “In New Works, The Art of the Voice Reaches a Summit,” by Bruce Hodges (September 16, 2015)

The New York Times, “Review: The Three Sopranos, at the Resonant Bodies Festival,” by Zachary Woolfe (September 10, 2015)

New York Classical Review, “Three stellar sopranos open Resonant Bodies festival with strong deep music,” by George Grella (September 10, 2015)

Matthew Guerrieri, The Boston Globe (January 13, 2015), "‘Why Old Places Matter’ debuts at Jordan Hall," a performance of “Why Old Places Matter” with the Boston Symphony Chamber Players:

David Wright, Boston Classical Review (January 12, 2015), "Nathan premiere headlines Boston Symphony Chamber Players' wide-ranging program,"a performance of “Why Old Places Matter” at with the Boston Symphony Chamber Players at Jordan Hall:

David Patterson, Boston Music Intelligencer (January 12, 2015), "Elegant Polish Naturally Applied by BSOCP," a performance of “Why Old Places Matter” with the Boston Symphony Chamber Players at Jordan Hall: 

George Grella, New York Classical Review (September 20, 2014), "Eric Nathan's music receives sterling advocacy from Momenta Quartet and guests," (performances of “Four to One,” “Quartet for Oboe and Strings,” “Three by Three,” “Omaggio a Gesualdo,” “Multitude, Solitude”)

Zachary Woolfe, The New York Times (June 4, 2014), a performance of “As Above, So Below” at the New York Philharmonic Biennial at SubCulture:

Paul J. Pelkonen, Superconductor (June 4, 2014), a performance of “As Above, So Below” at the New York Philharmonic Biennial at SubCulture:

Kurt Gottshalk, New York Classical Review (June 4, 2014), a performance of “As Above, So Below” at the New York Philharmonic Biennial at SubCulture: 

Justin Davidson, New York Magazine (June 4, 2014), “The Other Biennial.”

Zachary Woolfe, The New York Times (July 22, 2014) on a performance of “Toying” at the Tanglewood Festival of Contemporary Music:

Matthew Guerrieri, The Boston Globe (July 23, 2014) on a performance of “Toying” at the Tanglewood Festival of Contemporary Music:

Brian Schuth, The Boston Music Intelligencer (July 20, 2014) on a performance of “Toying” at the Tanglewood Festival of Contemporary Music:

Zachary Woolfe, The New York Times (June 18, 2013) a performance of “Quartet for Oboe and Strings” at the Chelsea Music Festival:

Steve Smith, The New York Times (January 9, 2013) a performance of “Four to One” with the Momenta Quartet at The Stone:

Jeffrey Gantz, The Boston Globe (January 13, 2014) world premiere of “Dancing with J.S. Bach” with A Far Cry

Kenneth Delong, Calgary Herald (January 14, 2014) a performance of “Dancing with J.S. Bach” with A Far Cry:

David Schulenberg, The Boston New Music Intelligencer (January 12, 2014) world premiere of “Dancing with J.S. Bach” with A Far Cry

Matthew Guerrieri, New Music Box (October 9, 2012) on the Boston premiere “Walls of Light” with Collage New Music:

Janine Wanée, The Boston Music Intelligencer (October 7, 2012) on the Boston premiere “Walls of Light” with Collage New Music:

Laurence Vittes, Gramophone Magazine (February 2010 see here) on “Cantus”:

Mary Wallace Davidson, The Boston Music Intelligencer (July 25, 2010) on “Dreamcatcher” performed at the Tanglewood Music Center:

Morgan Murray, The Scope (Canada) (July 4, 2010 see here) on “Four Sculptures” with the Reveille Trumpet Collective:

Peter Jacobi, Bloomington Herald Times (April 23, 2009 see here) on “One Voice” with the Indiana University New Music Ensemble:

Evan Burke, I Care If You Listen (Feburary 15, 2012) on “Imaginings” with James Noyes (saxophone) and Beth Robin (piano):

James Boldin, Horn World Blog (Feburary 15, 2012) on “Spires” with the Mirari Brass Quintet:

Peter Jacobi, Bloomington Herald Times (Feburary 14, 2012 see here) on “Timbered Bells” with the Indiana University Brass Choir: