Greg Sandow

As I’m writing this, Zankel Hall has just opened. Of course it’s Carnegie Hall‘s new contribution to New York’s musical life, their third performing space, a multi-use hall that can be reconfigured to …

Greg Sandow

It’s August, the dog days, and I’m going on vacation the day after I write this. Very tempting just to comment more on things my friends and colleagues (not to mention total …

Greg Sandow

In “Girl from the North Country,” the second track on The Freewheelin’ Bob Dylan (his second album), there’s an arresting moment. The song’s about to end, and Dylan, playing guitar and putting …

Greg Sandow

Wow. That’s one response to the outpouring my last column provoked. I had a few e-mails warning me that the discussion abandoned the issue I’d raised, but I’m glad it did. I …

Greg Sandow

Classical music may be in trouble. Details below. But if this is true, what should music critics do about it? This month seemed like a good time to ask this question, because …

Greg Sandow

Well, of course they do play it—and in fact, from what I’ve picked up in the orchestra world, they play more of it than some of their marketing directors might like. Some …

Greg Sandow

Last month, I celebrated the diversity of new music—or, more exactly, how impossible it is to find a central style, tone, or meaning in what composers do right now. All of us …

Greg Sandow

As I was watching Mercy—Meredith Monk‘s deeply touching music-theater piece, created in collaboration with Ann Hamilton, and performed at BAM—I suddenly realized how wrong I’d been about something I’d thought for years. …

Greg Sandow

Some of the best new sounds I’ve lately heard are on the soundtrack of Punch-Drunk Love, a marvelous, mostly unpredictable romantic comedy directed by P. T. Anderson, who also did Magnolia. This …

Greg Sandow

This past summer, I wrote a piece for The Wall Street Journal about dinner music. I’d eaten in a fine country restaurant, where unfortunately there was one annoyance—classical music on the stereo, …