The Village Voice
POTUS’s Military Parade/Birthday Bash Was No World-Beater, June 17, 2025
The Way We Live Now: New York Artists at the Edge of Survival, September 16, 2024
‘Composing While Black’ Rethinks Music in Time and Space, March 12, 2024
Gerry Eastman – Not Just His Brother’s Keeper, November 25, 2023
‘The City Without Jews’ – a 1924 Silent Film With a Loud Warning, October 20, 2023
An ‘Infinite Staircase’ of World Premieres in Williamsburg, September 18, 2023
Preview: Death of Classical to Bury Beethoven, September 12, 2023
The Brooklyn Rail
In Conversation: Ellen Arkbro with Ben Gambuzza, July/August 2025
In Conversation: Awadagin Pratt with Ben Gambuzza, October 2024
The Secret of Striped Light, April 2024
Ben Manley: Digital Thoreau, November 2023
The Chronicle of Higher Education
The Mentor I Didn’t Know I Needed, December 4, 2025
Chamber Music Magazine
Four Folks Making Music, Summer 2025
The Michigan Quarterly Review
My Chemical Companion, October 25, 2024
The New York Classical Review
Brick Presbyterian Church wraps an expressive Mozart “Requiem” around service, November 10, 2025
Hobson’s Schumann series turns to chamber works with mixed results, May 11, 2024
The New Yorker
Hearing Voices, letter to the editor, August 21, 2023
EarRelevant
Ian Hobson concludes five-year Schumann project in New York recital, November 12, 2025
Alexander Kobrin opens Key Pianists season with poetic Haydn, Schubert, and Schumann, November 10, 2025
JACK Quartet celebrates Lachenmann’s 90th birthday with otherworldly delicacy, October 13, 2025
Wu Man and The Knights pluck musical magic from Lou Harrison’s “Pipa Concerto,” September 12, 2025
Sighs and swoons: Yekwon Sunwoo brings Romantic depth and clarity to a sold-out Zankel Hall, May 5, 2025
Unorchestrated and forgotten, Nadia Boulanger’s only opera finally has its American premiere, April 24, 2024
Celebrating composer Chou Wen-chung: Continuum performs centennial tribute at Columbia University’s Miller Theater, March 26, 2024
Oppens at 80: A birthday concert to inspire pianists, February 7, 2024
“Angel Island” offers no respite from tragedy in New York premiere, January 15, 2024
Merryman’s Boston-crafted quartet resonates with the essence of Viennese Schools, December 6, 2023
Gerald Cohen’s song cycle based on acclaimed “Poems from Bergen-Belsen” commemorates Holocaust, October 27, 2023
Radio Free Brooklyn
Ringdown Is A Let-Down, But Caroline Shaw Remains Refreshing, May 22, 2024
The Top 9 Places To Hear (And See) Experimental Music In Brooklyn, According To Musicians, February 12, 2024
Evenings With the Orchestra
Moments of Being: In Lieu of a List, December 24, 2025
The Last Trumpet: Handel’s Messiah at Fifth Avenue Presbyterian, December 8, 2025
We’ll Let You Guys Prophesy: The Rise of the Novel at Roulette, October 31, 2025
La Monte Young is Dying: The Just Alap Raga Ensemble at the Dream House, October 16, 2025
Arrivederci!: Family, Poland, Italy, Wu Man, September 12, 2025
Sounds of the City IV: Googler Orchestra, Patrick Holmes, Contemporaneous, September 1, 2025
Sounds of the City III: Blacktronika, Chaya Czernowin, International Contemporary Ensemble, August 25, 2025
Sounds of the City II: JACK Quartet, GUNK, Quatuor Bozzini, August 17, 2025
Messiah, August 13, 2025
Concert Diary I: Roomful of Teeth, SUM SUN, Brooklyn Rider, Editrix, August 10, 2024
Drift Party Report, August 6, 2025
“Readable Even by the Deaf”: Toward a literary music criticism for the people, August 3, 2025
Alt and Confused: Five young critics on the future of music criticism, July 27, 2025
The Jazz Bar, July 25, 2025
Stuck in the Middle with Bach, June 23, 2025
The Bistro, May 30, 2025
The Gesture of Judgement: On the Impossibility of the Concert Review, April 8, 2025
An Act, February 13, 2025
Good Grief, December 10, 2024
Bruckner for All, November 28, 2024
C’est la Viennese, November 21, 2024
Backstage at David Geffen, November 18, 2024
Grapes in Autumn, November 11, 2024
Hail Mary, November 4, 2024
Kill Yr Ives, October 28, 2024
A Couple A Three Things, October 25, 2024
The Sense of A Middle, September 5, 2024
Fractured, July 31, 2024
And realize, June 17, 2024
Is Pop Music Too Perfect?, April 26, 2024
Please Don’t Stop The Music, February 2, 2024
An Actual Newsletter, January 22, 2024
Prepare for Movement (Or, Two Bows Better Than One), January 15, 2024
Striped Light Goin’ Messin’ Up My Mind, December 8, 2023
Love’s Lab[o]r’s Lost (and Found), December 2, 2023 (paid)
All The Bones Had Names, November 21, 2023
Chamber Music of a Different Color, November 16, 2023
At Roulette, A Whole Glorious Generation in One Room, November 13, 2023
A “Synth Battle to the Death” and Other Electropsychotics At The New School, November 10, 2023
“Composing While Black, Volume One” Sees Where We’ve Been and Where We’re Going, November 4, 2023
“Cannot Choose But Hear”: David Watson & Co. in Long Island City, October 31, 2023
Lips, Lasers, Keys, and Bassoon, October 29, 2023
Help Me Uncover the Lost Story of Wittgenstein’s Favorite Composer, October 13, 2023
Marcus Pal’s Head-Shaking “Harmonic Exclusion,” October 10, 2023
Acoustic Hygiene, Lunar Eclipses, and Orientalism, September 18, 2023
John Zorn Got Me Drunk (With Music), September 15, 2023
What About The Audience?, September 13, 2023
Song Cycles at an Exhibition, September 12, 2023
No Bangs, Only Whimpers at the DiMenna Center, September 10, 2023
Piano As Couch: Erik Satie’s Proto-Ambient “Furniture Music” in an NYU Lobby, September 10, 2023
Riding Solo: Musicians Go It Alone at Cutting Edge Concerts, September 8, 2023
Ben M. Gambuzza 