Cellist Matt Haimovitz is a loner. Musically he goes his own way.
That is true of all the Scotia Festival of Music master artists, in a way. But Friday night, in his solo recital in The Music Room, Haimovitz carved his path so expertly and with such unhesitating self-confidence and momentum that he could be said to Continue reading →
Virtuoso cellist Matt Haimovitz has made a career of bringing classical music to people who don’t hear it much. In the mid-’90s, having played as soloist with major orchestras in venues like Carnegie Hall, the Israeli-born, American-raised musician got frustrated with the narrowness of classical-music culture and the kind of career typically Continue reading →
Celebrating the 300th birthday of his cello, the concert adventurer Matt Haimovitz returned to Seattle’s Tractor Tavern Wednesday night for a one-man show that sold out the bar. Some 250 seated and standing fans filled the funky place where Haimovitz performed Hendrix not so long ago, backed by a band of students, to plug his CD “Anthem.” This time, he’s touring Continue reading →
Country, hip-hop, metal—cobblers in certain genres pretty much stick to their lasts and aren’t known for exploring music outside their boundaries. (Go ahead, deny it. With counterexamples.) The musicians with the broadest tastes and most ravenous curiosities tend to be rooted in classical—naturally enough, since the term itself covers about a millennium of music. Setting the standard is cellist Matt Haimovitz, who plays, basically, everything everywhere: Bach to Led Zeppelin, Continue reading →
The Tractor Tavern’s stage is no stranger to vintage instruments, but for Matt Haimovitz, the notion of a classic ax takes on a decidedly longer perspective.
The cello virtuoso, who has spent the past decade bringing Bach, Britten, Hindemith and Webern to rock clubs, nightspots, restaurants and dives, is celebrating the 300th anniversary of his instrument, which was built in 1710 by Venetian luthier Matteo Goffriller (who’s to cellos what Stradivarius is to violins). Continue reading →
In a career spanning 25 years, cellist Matt Haimovitz has grown from a winsome lad of 13, making his debut with Zubin Mehta and the Israel Philharmonic, to an institution, noted both as a concert artist and solo recitalist. However, unlike many institutions, Haimovitz has never allowed himself to fossilize, and Continue reading →
Le violoncelliste Matt Haimovitz et sa partenaire, la compositrice Luna Pearl Woolf, réinventent le rituel du concert avec la nouvelle vocation d’eXcentris. Air frais.
J’ai rencontré Matt Haimovitz pour la première fois en 2006, alors qu’il venait de faire paraître son disque Goulash! (Oxingale Records), sur lequel il joue avec le grand guitariste jazz-rock John McLaughlin, l’ensemble de musique méditerranéenne Constantinople et DJ Olive, entre autres. On trouve sur ce disque du Bartók et du Ligeti, mais aussi du Led Zeppelin Continue reading →
The exciting eccentricities of November’s classical music programming at eXcentris
McGill music professor and renowned cellist Matt Haimovitz—who now adds artistic advisor and artist-in-residence at the recently repurposed eXcentris to his CV—has made it his mission to expand the parameters of classical music, what it is and who it’s played for. In that spirit, his latest album, Figment, covers a good part of Continue reading →
In the world of commercial music, the conventional wisdom is that the full-length album is dead, that listeners want individual tracks, downloaded rather than on discs. But on Monday, when the big news elsewhere was the release of a single by Michael Jackson, a handful of new-music performers gathered at Le Poisson Rouge and, in two unrelated shows, offered Continue reading →
A sequel to his 50-State solo cello tour and recording, Anthem, released in 2003, Figment is a return to Haimovitz’s signature solo set, embracing the musical communities of his two home countries, the US and Canada. Inspired by Continue reading →