It’s not hard to understand why celebrated violist Nadia Sirota chose Baroque for the title of her sophomore album, out March 26th on New Amsterdam Records and on Bedroom Community in the UK/EU. The follow-up to Sirota’s 2009 debut First Things First (a New York Times record of the year), Baroque is as intricate and ornate as its name suggests, adorning Sirota’s singular interpretive voice with dynamic electronic processing at the revered production hands of Valgeir Sigurðsson and Paul Evans. Built on works written expressly for her by some of the most widely respected composers of her generation–Daníel Bjarnason, Paul Corley, Judd Greenstein, Missy Mazzoli, Nico Muhly, and Shara WordenBaroque shows Sirota fusing each composer’s unique voice with her own, then complemented by expert production to create a fully immersive experience that is captivating and original.

The pith of Baroque is unrestrained time and imagination in the studio. Recorded somewhat sporadically over the span of a year and half in Sigurðsson’s famed Greenhouse Studios in Iceland,Sirota, Sigurðsson, and Evans had no limits as they experimented with every detail–deconstructing and reconstructing tracks, trying alternate instruments, wirings, recording devices, and spaces. (Though by contrast, Nadia’s performances were recorded in minimal takes.) The result is a 3D album that begs for a headphone listen, an absorbing escapade that reveals more of itself with every proverbial spin.

Baroque opens with Judd Greenstein’s “In Teaching Others We Teach Ourselves” for seven violas, a response to the Golden Record shot into the solar system in 1977 by NASA and meant to share the sounds and images of humankind with alien life. The piece is a lush and affecting meditation on what it would mean to teach the emotion and agency of the Earth’s music to another life form, with Sirota performing the seven separate viola parts. Shara Worden’s velvety “From the Invisible to the Visible” follows, featuring recent Westminster Abbey assistant organist James McVinnie; then Missy Mazzoli’s “Tooth and Nail”, a hypnotic blend of electronic textures and deft performance. Nico Muhly’s contribution, “Étude 3″, lays down mellow R&B pressed up against bursts of brisk viola, contrasted by Paul Corley’s fluid and ethereal “Tristan Da Cunha”. The album’s finale is Daníel Bjarnason’s stirring viola concerto “Sleep Variations” — a compilation of Sirota performing eleven different viola lines edited and layered into 14 minutes of sonic tossing and turning that is likely to be considered one of the greatest triumphs of his composing career.


Sirota will preview the songs from the album as well as perform the premiere of Greenstein’s “In Teaching Others We Teach Ourselves” with six additional live violists at NYC venue The Kitchen on February 5th. She will also join Valgeir Sigurðsson on tour this spring to perform selections fromBaroque, including a Baroque album release celebration at NYC’s (le) Poisson Rouge on March 27th, as well as perform material from Sigurðsson’s recent release Architecture of Loss. All details below.


Nadia Sirota — Baroque Album Preview Show

Featuring the live premiere of Judd Greenstein’s “In Teaching Others We Teach Ourselves” for seven violas

Tuesday, February 5th 2013. 8PM.

at The Kitchen (512 West 19th Street, NY NY,646-481-4704)

$15 (Students/Seniors $12)

Event/ticket link:


Valgeir Sigurðsson with Nadia Sirota and Friends

Featuring Sirota performing works from her new album Baroque

& Sigurðsson and Sirota performing Sigurðsson’s Architecture of Loss

Wednesday, March 27th 2013. 7:30PM

at (le) Poisson Rouge (158 Bleecker Street, NY NY, 212-505-3474)

$15 advance/$17 day of show

Event/ticket link: