Haunting, poignant and relentlessly physical, Julia Wolfe’s Anthracite Fields is a lovingly detailed oratorio about turn-of-the-20th-century Pennsylvania coal miners, and a fitting recipient of the 2015 Pulitzer Prize for Music. NPR Music’s Tom Huizenga describes the piece as “...almost a public history project and a music project at the same time,” which hints at the work’s universal appeal.

Featuring the always adventurous Bang on a Can All-Stars and the renowned Choir of Trinity Wall Street, Anthracite Fields merges multiple styles with classical themes—from the deep, ambient sweep of the opening movement “Foundation” (with the All-Stars’ Mark Stewart wrenching waves of keening sound from his electric guitar) to the athletic work-song mood of “Breaker Boys” and the elegiac, contemplative drift of “Flowers.” In the socio-politically engaged “Speech,” Stewart takes the lead with boisterous rock vocals, while “Appliances” spells out the economic weight of coal power with ruthlessly mechanical precision.

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REVIEWS:

A powerful entry into Wolfe’s catalog and, for at least the second year in a row, a fully deserving Pulitzer winner. Its debut recording makes the case that it ought to be heard far and wide.

– Arts Fuse (Boston, MA)

A thrillingly versatile tribute — by turns elegiac and celebratory, rambunctious and reflective — to the world of coal mining and miners in the composer’s home state of Pennsylvania. The music encompasses everything from mournful minimalism to hard-driving rock ’n’ roll, yet there’s an underlying cohesiveness that ties that stylistic range together superbly.

– SF Gate

Bang on a Can co-founder Julia wolfe has turned the string quartet world upside down with these hip and innovative works. Ferocious and fresh, Wolfe's quartets, played here in blistering performances by the Lark Quartet, Cassatt Quartet and featuring one of the most-talked-about NYC quartets, Ethel, have been exciting audiences, quartets and critics for the last ten years. Heard ont the stages of Lincoln Centre, the Kennedy Centre and the Other Minds Festival, in the repertoires of the Kronos, Smith, and Mondrian quartets (and others!), hers are some of the most celebrated and performed quartets in the world. Defying classification, Wolfe's music conveys intensity and intimacy, a virtuosity and joy of sound that turns the string quartet into a relentless high voltage vehicle of expression. Beautifully recorded and produced by Michael Reisman. Julia Wolfe's CD, 'Arsenal of Democracy', was released by Point Music/Universal.

This fall, Cantaloupe Music will release Julia Wolfe's Dark Full Ride: Music in Multiples, her first album since 2003. It consists of four new compositions, each clocking in at over 15 minutes, each written for multiples of individual instruments--nine bagpipes, four drum sets, six pianos, and eight double basses. Wolfe says, "Like staring for a long time at a Rothko painting, I imagined each of these pieces as an exploration of one color. But in truth an instrument isn't really a single timbre. There are a myriad of worlds within each sound." Working closely with the performers during the composing process, Wolfe uncovers a never before-heard music. For example, while writing "LAD," she discovered the initial drone produced while filling the bagpipe with air, using that as the piece's introduction. The first seven minutes of the title track "Dark Full Ride" use only a drum set's hi-hats. "my lips from speaking" builds on the piano riff from a classic R&B song to showcase the instrument's ferocity. Finally "Stronghold" shows the bass isn't just about low end. Says Wofe: "With each piece I tried to dive into a psychedelic landscape, at once multilayered, fractured, ecstatic, silent, driving, cacophonous, and direct." " "Sales Inventory

"Inspired by her love of Appalachia, Julia Wolfe based her text for Steel Hammer on over 200 versions of the “John Henry” ballad. Steel Hammer features the alternately haunting and playful vocalizations of Norway’s renowned Trio Mediaeval, and stretches the standard instrumentation of the Bang on a Can All-Stars with wooden bones, mountain dulcimer, banjo, clapping, clogging and more. “...a musical archaeology of a familiar tale ― one that preserves, even enlarges, its central mystery.” - Alex Ross"

"Wolfe is doing what she does best: frenetic power created through post-minimalist techniques that transcend mere repetition. The music materials are sharp, taut, basic, and the economy of material is expertly managed. Wolfe knows how to make a lot out of a little AND pull the listener along for the ride. Both works have programmatic elements but not knowing the program does not interfere with the listening experiences. These works sound fresh and contemporary and I’m confident that audiences in the future will continue to relate and connect with the ideas therein."

-- Sequenza 21

"Teeming with jealousy, rage, passion, murder and a ghost, Julia Wolfe’s Cruel Sister has all the makings of an opera... Under conductor Brad Lubman, Ensemble Resonanz elevates Cruel Sister to an incandescent plane, delving into the psyche of the titular murderous sibling the way Judi Dench once mined the character traits of Lady Macbeth."

-- WQXR.com

The Bang on a Can All-Stars have recorded their first studio album in five years; the first to include the All-Stars' current line-up: Ashley Bathgate, cello; Robert Black, bass; Vicky Chow, piano; David Cossin, percussion; Mark Stewart, electric guitar; and Evan Ziporyn, clarinets.

With Big Beautiful Dark and Scary, the Bang on a Can All-Stars show off their blazing speed, polyrhythmic virtuosity and all-world versatility in a return to the core Bang on a Can sound - an uncategorizable supermix of classical and electric instruments that is part classical ensemble, part rock band, and part jazz sextet. The album is the first in a decade that features the All-Stars exclusively, rather than as part of a collaborative project. Each of the pieces on the double-CD calls upon a different kind of virtuosity, demonstrating the range of musical abilities and experiences arguably unique to this ensemble. Recorded in New York City, all of the music on Big Beautiful Dark and Scary (including the arrangements of the works by Conlon Nancarrow) were written for and premiered by the Bang on a Can All-Stars.