PRESS


Profile in Baltimore Style Magazine
January 1, 2014
Christianna McCausland

When Judah Adashi premiered his composition Inner City at the Walters Art Museum last November (a piece commissioned by the museum) his first-grade teacher from Gilman School was in attendance. He also keeps up with his old history teacher, whom he credits with piquing his interest in social justice and civil rights issues, and fondly recalls his high school music teacher... Read More


Judah E. Adashi and The New Sincerity: An Emerging American Attitude in Music and Letters
December 19, 2013
Brian Barone

The music of Judah E. Adashi is a study in earnest introspection. His language deploys a comfortable blend of piquant dissonance and un-self-conscious lyricism. Adashi is, we will argue, a neo-romantic, but one that carries the torch of the Brahms of the piano works or the Mendelssohn of the chamber music; a conservator of the personal, reflective, Keatsian strain ofRomanticism who nonetheless also engages freely with the twentieth century’s progressive developments in musical language apparently without dogma or preoccupation. More significantly, it will be shown that this combination of the nature of Adashi’s language and the details of his approach to the making of art make him one of contemporary music’s emissaries of a rhetorical attitude in American letters that has been called the New Sincerity. In this way, he is a fundamentally American composer. Read More


Who are the Most Influential Music Professors on Twitter?
April 5, 2012
Woodrow Aames, The Degree 360

@jadashi, Judah Adashi, Composer, Faculty at Peabody Institute of the Johns Hopkins University. Adashi tweets about his musical influences, having his works produced, and his mentoring of students. Read More


Branching Out: Composer’s Work to be Featured at Pratt Library
March 30, 2012
Alan H. Feiler, Baltimore Jewish Times

Dr. Judah E. Adashi is a classical music composer, events organizer, advocate and educator. The founder and director of the local Evolution Contemporary Music Series, Dr. Adashi, who was born in Boston but grew up in North Baltimore, has been praised by The Sun for having "elevated and enriched Baltimore's new music scene enormously." Dr. Adashi, 36, the son of Israeli parents, is on the composition and music theory faculty at the Peabody Institute of Johns Hopkins University, from which he earned master's and doctoral degrees. The Baltimore Jewish Times recently caught up with Dr. Adashi, a Federal Hill resident who will appear with musical associates at a concert of classical music tomorrow, Mar. 31, at 3 p.m. at the Light Street branch of the Enoch Pratt Free Library. Read More


Review of The Dark Hours (2007)
January 4, 2012
Jay Batzner, Sequenza 21

Judah Adashi’s The Dark Hours from 2007 is a meaty three movement work. The music is austere, lyrical, and rich with extended tonal harmonies. Even when very little is happening on the surface, my attention is always held fast by the music.
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Noizepunk and Das Krooner Interview with Judah Adashi
June 2, 2011
Gene Pritsker and Charles Coleman, Noizepunk and Das Krooner

Show 57 with Judah Adashi: Noizepunk & Das Krooner welcome composer/pianist Judah Adashi in their first ever Skype interview. "If this goes well we can talk to anyone, anywhere, anytime!!!" check out this cool show as we listen to Judah's hip music. Listen


Judah Adashi visits Princeton Public Library
May 11, 2011
George Quinn, Princeton Public Library

My name is Judah Adashi; I'm a composer. I'm based in Baltimore; I teach at the Peabody Institute, which is also where I did my studies. I did my undergraduate studies at Yale, and then I got my Master's and doctoral degrees at the Peabody Institute. I didn't feel that I could capture the whole epic sweep of [One Hundred Years of Solitude]; I didn't feel that was necessarily suited to my musical sensibilities. I reread the book, and when I reread it, I found that there were these musical episodes that run throughout the whole book. Watch Photos


Interview with International Composer
May 11, 2011
Jeffrey James, International Composer

1. When did you first realize you were a composer?
It was a gradual process. I had the sense for many years that I wanted to be a musician, but I didn’t know what shape my musical life would take. I grew up playing the piano at the Peabody Preparatory, studied theory and musicology as a music major at Yale, and also pursued non-classical music in both high school and college, as a pianist and music director for musical theatre productions and as director of several a cappella singing groups. I think the latter activities - which involved a lot of behind-the-scenes creative work, particularly arranging music, as well as working with other musicians - made me feel that writing music would be a good fit. I began to compose towards the end of my undergraduate studies, and continued in earnest as a Master’s and Doctoral student at the Peabody Institute of the Johns Hopkins University, where I am on the composition and music theory faculty... Read More


In performance: Music of Judah E. Adashi
November 19, 2010
Megan Ihnen, SybariticSinger

Last night I nestled into the Children’s Department of the Enoch Pratt Free Library – Light Street Branch surrounded by murals featuring Elmo and posters espousing, “Let the reading rumpus start!” Chatting with various Federal Hill neighbors and Peabody past and present, I prepared myself for an evening of music by composer, Judah Adashi... Read More


An Interview with Judah Adashi
August 1, 2010
Tom Moore, 21st-Century Music

Judah Adashi (b. 1975) is the child of Israeli parents, but was born and raised in the United States. He teaches composition at the Peabody Institute of the Johns Hopkins University in Baltimore, where he is also founder and director of the Evolution Contemporary Music Series. He studied with Nicholas Maw and John Harbison. We spoke via Skype on March 12, 2010... Read More


Judah Adashi: Making Classical Hip
April-May 2010
Claire R. Mullins, SoBo Voice

He defines ‘contemporary’classical as music produced within the last twenty or so years that has drawn inspiration and influence from other musical genres—including rock, jazz and reggae—as well as life and place. The role of place is something he pondered this past season as he directed a concert series entitled Evolution Contemporary Music Series at An Die Musik on North Charles Street: does location matter? Does the national or cultural origin of music still have influence in our increasingly virtual world?
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The New Now
March 31, 2010
Lee Gardner, City Paper

Wind through the warren of gates, passages, buildings, and hallways that make up the city-block-sized Peabody Institute and you eventually find yourself in an office whose sparse decoration consists mostly of a set of fliers for the Evolution Contemporary Music series. It looks like a space barely used, perhaps because its occupant, Judah Adashi, is busy teaching composition and music theory at the conservatory, working on his Ph.D., curating and running the Evolution concerts, and working on his own compositions as well... Read More


Interview on WYPR
March 2, 2010
Tom Hall, WYPR

Judah Adashi teaches at the Peabody Institute and directs the Evolution Contemporary Music Series at An Die Musik in Baltimore. He talks to Tom Hall about the life and work of a contemporary composer. The Cantate Chamber Singers will perform Judah Adashi’s Elegiac Madrigals on Saturday night at St. John’s Norwood Parish on Wisconsin Avenue in Chevy Chase.  The Evolution Contemporary Music Series will continue next Tuesday at An Die Musik.  The program features music by recent winners of the prestigious Rome prize: Lisa Bielawa, Sebastian Currier and Pierre Jalbert. Listen


A Life of Living Music
September 25, 2009
David Rosenfeld, Gilman Bulletin

Judah Adashi is in his early 30’s, lives in Federal Hill and displays the kind of daily enthusiasm for his job everyone wishes they had. So that proves it. Not all classical composers are dead. Adashi, a 1994 Gilman graduate, doesn’t have anything against Mozart (died 1791) or Beethoven (died 1827). As the former director of the Traveling Men and a former conductor of Yale’s famous Whiffenpoofs, he doesn’t have anything against popular music either, a cappella or otherwise. He just wants you to know that classical music is alive and well… Read More


Review of Meditation: Three Episodes from William Styron’s Darkness Visible (2000)
February 14, 2005
Dan Salvage, Sequenza21

The second half of "Resonance" contains three works by composers who are all under forty. I particularly liked Adashi's "Meditation: Three Episodes from William Styron's 'Darkness Visible'." This is a very sensitive, tonal work in three short movements. The guitar writing may lack the bravura found in several other pieces on the album, but in its place Adashi gives Lippel the chance to sing out beautiful, delicate melodic lines. The chromatic inflections to the relatively traditional harmony are well felt and never sound cheap. Also welcome were the luxurious silences: these gave some well-deserved moments of reflection to what is a pretty intense CD.


Review of Suite: Eight Haiku by Richard Wright (2001)
May 1, 2004
David Cleary, New Music Connoisseur

Suite: Eight Haiku by Richard Wright (2001) finds its composer, Judah Adashi, capturing the subtle emotive nature of this Japanese poetic format in a non-vocal environment. Scored for violin/marimba duo, it’s a personable, engaging opus with enough serious undercurrents to impart depth. And despite nods to Messiaen and Stravinsky, the sonic universe sounds fully personal.


Deconstructing Composing
April 29, 2004
Stewart Oksenhorn, Aspen Times

For the past 10 days, award-winning composer Judah Adashi has been working with valley schoolchildren in the creation of classical music. At times the children have been baffled and overwhelmed as they faced the limitless choices of notes and rhythms, confronted failure, and tried to gain some grasp of the slippery, intimidating art of composition... Read More


Review of Elegiac Madrigals: Five Fragments by American Poets (1999/2010)
April 14, 2003
Joseph McLellan, Washington Post
[not available online]

Judah E. Adashi was present for the world premiere of his “Elegiac Madrigals: Five Fragments by American Poets” Saturday night at Bradley Hills Presbyterian Church. The performance, by the Cantate Chamber Singers under the direction of Gisele Becker, was part of Adashi's prize for winning Cantate's fourth Young Composers Contest. Born in 1975 and embarked on a promising career, Adashi, a native of Baltimore, is a teacher at the Peabody Conservatory and has a substantial list of works listed at his web site, www.judahadashi.com.

“Elegiac Madrigals,” using texts by Hart Crane, John Ashbery, Sam Shepard, E.E. Cummings and A.R. Ammons, is a series of muted but serene a cappella miniatures, composed with a fine sense of vocal textures and word values and an undertone of joy, although, like the other works chosen for this program, it is a meditation on death.