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    A Critic Who Strives to Hit the Right Note

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    Zachary Woolfe, the classical music critic for The New York Times, shared how he endeavors to make his writing accessible to both neophytes and experts.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.Zachary Woolfe grew up in a musical household. His parents were big fans of Bob Dylan and Joni Mitchell, and often played their music throughout their Long Island, N.Y., home.So when he, as a teenager, hung a picture of the dramatic soprano Birgit Nilsson above his bed, they were supportive, he said, if a bit confused.“I was a serious cellist from elementary school through high school,” said Mr. Woolfe, 39, the classical music critic for The New York Times. He began taking private lessons when he was about 9 and played in all-county and all-Long Island orchestras, and his love of the genre has only grown.Now, 13 years into a career as a music critic at The Times — he began as a freelance critic in 2011 — Mr. Woolfe has carved out a niche among classical music critics. His goal is to make the genre accessible to readers new to the art form, as well as interesting to aficionados who may be attending their 25th performance of Mahler’s Fifth Symphony.“I think what people are interested in is passion,” Mr. Woolfe said. “Even if you didn’t understand every word, my goal is for you to be drawn into my pieces because you can tell that I really care about what I’m writing about.”In a recent phone conversation, shortly before he attended a performance by the Boston Symphony Orchestra at New York City’s Carnegie Hall, Mr. Woolfe reflected on the importance of covering classical music across the globe and the future of the genre. These are edited excerpts from the conversation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Myron Goldfinger, 90, Architect of Monumental Modernist Homes, Dies

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      His houses, which dot the Hamptons and other parts of the New York region, include a residence featured in “The Wolf of Wall Street.”Myron Goldfinger, whose monumental modernist homes around New York made him a favorite architect of the city’s rich and powerful during the 1980s, died on July 20 in Westchester County, N.Y. He was 90.His daughter Thira Goldfinger and his wife, June Goldfinger, said the death, at a hospital, was from liver cancer.Mr. Goldfinger designed his homes by amassing basic shapes — half-circles, blocks, triangles — into dramatic sculptural statements that seem both modern and ancient, as if a Roman palace had lost all its ornamentation but otherwise escaped the wear of time.He first gained prominence with his own weekend retreat, which he built in 1970 in Waccabuc, a hamlet in northern Westchester. Its plan was simple: A rectangular block topped by two perpendicular triangles. But the structure, four stories tall, was full of surprises, like a hidden rooftop patio where the triangles intersected.Like the architect Louis Kahn, who had been his mentor at the University of Pennsylvania, Mr. Goldfinger sought to fuse modern styles with features found in vernacular Mediterranean architecture: barrel vaults, interior courtyards, vast blank walls.“All architecture must eventually fade and return to dust,” he wrote in the introduction to “Myron Goldfinger: Architect,” a 1992 compendium of his work. “The fashion of the moment is so temporary. Only the timeless basic geometry repeats in time.”Millennium House, designed by Mr. Goldfinger and built in Montague, N.J., in 1978. His expansive, theatrical designs fit perfectly with the lavish ethos of the era. Norman McGrathHis success came not only from his timelessness but also his timeliness. His expansive, theatrical designs fit perfectly with the lavish ethos of the 1980s. His giant walls accommodated massive works of art; his wide picture windows allowed c-suite clients to imagine that they were, indeed, masters of the universe.His homes dot the suburban landscape from northern New Jersey to southwest Connecticut, but his best-known projects lie in the wealthier enclaves that stretch east from New York City on the Long Island shore — above all in the Hamptons, where an influx of luxury buyers were looking for something different than the area’s traditional shingle-style homes.“He was a complete original,” Timothy Godbold, an interior designer and the founder of Hamptons 20th Century Modern, a preservation group, said in a phone interview. “He was completely pure in his aesthetic, which was geometry.”Mr. Goldfinger’s interiors were likewise spectacular. Fitted out by his wife, an interior designer, they included bridges, conversation pits and intimate hallways that led to living rooms with double-height ceilings. They were at once trophies to be displayed and cozy escape pods from the bustle of Manhattan.In 1981 he designed a home for Fred Jaroslow, the chief operating officer of Weight Watchers, in Sands Point, on Long Island’s North Shore. A pile of blocks, cylinders and vaults, it has an almost completely windowless facade, save for a kitchen aperture, a concession to Mr. Jaroslow’s wife.The back is the opposite: Double-height windows, a pool and a broad lawn opening to the water make it an inviting space for entertaining. The house gained prominence when Martin Scorsese used it as the setting for a debauched party hosted by Leonardo DiCaprio’s corrupt broker in the 2013 film “The Wolf of Wall Street.”Myron Goldfinger in 1965. He designed his homes by amassing basic shapes — half-circles, blocks, triangles — into dramatic sculptural statements.The New York TimesMyron Henry Goldfinger was born on Feb. 17, 1933, in Atlantic City, N.J., to William and Bertha (Sass) Goldfinger. His father was a mail carrier, his mother a homemaker.As a child growing up working class on the Jersey Shore, Myron gawked at the stately homes in some of his hometown’s more affluent neighbors, like Marven Gardens to the south.“I guess we all search for a certain meaning and understanding of life,” he wrote in the foreword to “Myron Goldfinger: Architect.” “I know I am always building the houses I never lived in as a boy.”He graduated from Penn with a bachelor’s degree in architecture in 1955, then served two years in the Army, designing cabinets at the Pentagon. Afterward he spent almost a decade working for large and small design firms in New York, including the office of Karl Linn, a noted landscape architect; the giant Skidmore, Owings & Merrill; and the office of Philip Johnson.In 1966, he decided to go off on his own, opening a firm with June Matkovic, whom he married that same year. Through Mr. Johnson, he also secured a teaching position at the Pratt Institute, a design and engineering university in Brooklyn, where he stayed for a decade.Along with his wife and daughter, he is survived by another daughter, Djerba Goldfinger, and a grandchild.Later in his career, Mr. Goldfinger expanded beyond the New York area, designing luxury villas on the Caribbean island of Anguilla and two homes in the Southwest, including one in Santa Fe, N.M., for himself and his wife.David Michael KennedyMr. Goldfinger wrote two other books, “Villages in the Sun: Mediterranean Community Architecture” (1969) and “Images of the Southwest” (2008), both of which explored vernacular architecture and how it reflected its surrounding landscape, history and culture.“I love the intuitive artistic sense that drove these ancient peoples,” he told The Santa Fe New Mexican in 1996. “It was an organic process that used whatever materials were available in a basic, honest fashion.”Later in his career, Mr. Goldfinger expanded somewhat beyond the New York area, designing a series of luxury villas on the Caribbean island of Anguilla and two homes in the American Southwest, including one in Santa Fe, for himself and his wife. They had fallen in love with the region, and amassed a sizable collection of Southwestern art.Today, many critics and preservationists speak of Mr. Goldfinger’s work in the same sentence as that of Charles Gwathmey and Richard Meier, two world-renowned modernists who likewise designed homes around New York City.If they are better known, it may be because they also completed high-profile public works — Mr. Gwathmey and his partner, Robert Siegel, renovated the Guggenheim Museum in 1992, and Mr. Meier designed the Getty Center in Los Angeles. Mr. Goldfinger’s single significant nonresidential work was a synagogue in Brighton Beach, Brooklyn.His work also went out of fashion for a time, as postmodernism swept in and clients returned to more traditional styles. But, Mr. Godbold said, the pendulum may be swinging back: On social media, he often sees younger architecture fans fawning over a Goldfinger house.“We’re all going to be loving it in a few years,” he said. More

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      ‘Happer’s Comet’ Review: Live by Night

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      The writer-director Tyler Taormina shot this highly experimental feature, which mostly takes place after dark, during the most restrictive phase of the pandemic.Except in its final shot, “Happer’s Comet” takes place entirely at night. But if it weren’t for occasional glimpses of clocks, discerning the precise time would be tricky. There are plenty of people out and about, performing quiet, personal, often inexplicable tasks in an unidentified pocket of suburbia. (The film was largely shot in Smithtown, Long Island.)One person records the sounds of crickets and trains on a cellphone. Another does push-ups in a closed auto body shop. Still another tries to reach a human being on an automated phone system, but all of the agents are currently busy. The only dialogue in this movie comes from external sources, like the phone system or televisions. The characters never speak, and they are never named. It may say something about the film’s foreboding mood — it’s been described as Lynchian, and the opening shot appears to nod to “Blue Velvet” — that one of the figures who looks sleepiest is driving (and drifting over the yellow line).Motion becomes a motif: As “Happer’s Comet” progresses, it becomes difficult to keep track of how many of its subjects have donned roller blades or skates. They glide through the area almost ritualistically (or somnambulistically).The writer-director, Tyler Taormina (“Ham on Rye”), shot this highly experimental feature during the most restrictive phase of the pandemic, apparently with a crew of two.Taormina has taken the problem of having to look at the same thing every day and turned it into an aesthetic — staring at, and listening to, ordinary sights to the point where they become eerie and unfamiliar. (The sound design on a cornfield makeout session gets in way closer than movies normally do.) Sometimes wearying, sometimes pointlessly cryptic, “Happer’s Comet” nevertheless has a distinct way of viewing the world.Happer’s CometNot rated. Running time: 1 hour 2 minutes. In theaters. More

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      Martin C. Dreiwitz, Who Took Student Musicians on World Tours, Dies at 91

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      He combined his love for travel and music to turn the Long Island Youth Orchestra into a globe-trotting powerhouse.Martin C. Dreiwitz, who drew on his twin passions for travel and classical music to found the globe-trotting Long Island Youth Orchestra, conducting his student musicians before audiences as close as Great Neck and Brookville and as far away as Karachi and Kathmandu, died on June 20 at a hospital near his home in Oyster Bay, N.Y. He was 91.Steven Behr, the president of the orchestra’s board of directors, said the cause was a heart attack.The orchestra may have counted some 100 performers, but Mr. Dreiwitz (pronounced DRY-witz) was practically a one-man show: He raised the funds, he scouted for new members, he cajoled parents to bring snacks on rehearsal days, and he conducted every performance from its founding in 1962 to his retirement in 2012.He was also the orchestra’s travel agent. In addition to playing four concerts a year, mostly at a performance hall on the campus of Long Island University Post in Brookville, N.Y., the orchestra went on a summer tour, almost always abroad, with multiple stops and often on multiple continents. One trip, in 1977, took them to Greece, Kenya, the Seychelles, India, Sri Lanka and Israel, with every detail arranged by Mr. Dreiwitz.Though he trained as a classical clarinetist, Mr. Dreiwitz was, in fact, a travel agent by trade, and he used his skills and connections to plot intricate journeys that even a professional orchestra might shrink from. He took pride in being among the first Western orchestras to play in places like Pakistan and Nepal, performing sold-out shows with students who often had never before left Long Island.He treated his musicians like adults, and saw his mission as one less about pedagogy than about preparation for a professional music career. He eschewed the typical youth orchestra fare — Aaron Copland’s “Fanfare for the Common Man,” Samuel Barber’s “Adagio for Strings” — in favor of deep cuts from Mozart and Rossini and avant-garde composers like Virgil Thomson (a personal friend, who sometimes used the orchestra to test-run his latest work).He also tended to steer clear of Broadway scores, though he did have a soft spot for the music of George Gershwin, especially “Porgy and Bess,” and often included selections from that opera on the orchestra’s summer tour.Mr. Dreiwitz saw travel as another form of preparation. It was, he insisted, important for budding violists and clarinetists to learn how to perform at their best in strange new venues, in strange new cities, in front of strange new audiences.But he also simply loved the challenge of planning, say, a five-week trip for 85 students across five countries in East Asia. In between raising money and running rehearsals, during the school year he would dash off on reconnaissance trips, scouting each site for an upcoming tour — arranging hotels (or just as often private homes), checking out venues, even taste-testing restaurants. When the students arrived, months later, everything would be perfect.The orchestra ran on a shoestring budget, especially early on, when Mr. Dreiwitz refused to charge tuition. Instead, funds came from family donations, annual candy sales and, quite often, his own pocket. Every spring he offered a $2,500 scholarship to be split among the three best high school seniors, as judged by an outside panel.The Long Island Youth Orchestra in 1974. Alumni have gone on to play in most of the country’s major symphonies, and they populate countless chamber groups and academic music departments.Lester Paverman for The New York TimesMr. Dreiwitz’s hard work paid off. The orchestra’s 4,000 (and counting) alumni have gone on to play in many of the country’s major companies, including the Boston Symphony Orchestra, the New York Philharmonic, and the Philadelphia Orchestra, and they populate countless chamber groups and academic music departments.Mr. Dreiwitz could be stern and exacting on the podium, but, many of his former musicians said, he ran the orchestra like a family, fostering a vibe of collegiality instead of competitiveness.“I don’t twist anyone’s arm to join,” he told The New York Times in 1964. “They’re giving up their own time because they love music and want an opportunity to play. I don’t think you can find a more enthusiastic group of musicians any place.”Martin Charles Dreiwitz was born in Weehawken, N.J, on June 15, 1931, and raised in Brooklyn. His father, Samuel Dreiwitz, worked in the fur industry, and his mother, Charlotte (Silver) Dreiwitz, was a homemaker.He is survived by his two sons, Tuan Dinh and Dung Dinh.A gifted musician even as a child, he played clarinet and graduated from the High School of Music and Art in Manhattan (now the Fiorello H. LaGuardia High School of Music & the Arts), and he majored in music at the University of Chicago. Along the way he studied under woodwind luminaries like Simeon Bellison, the principal clarinetist for New York Philharmonic, and Anthony Gugliotti, who held the same post with the Philadelphia Orchestra.After graduating from college in 1953, he moved to Europe, where he traveled and studied to be a conductor, including a stint with Wilhelm Furtwängler in Vienna.He returned to the United States in the early 1960s and settled in suburban Long Island, hoping to find a job conducting. To make ends meet, he took a job as a travel agent and offered private clarinet lessons on the side.One day in 1962, one of his particularly talented students put down his instrument and frowned.“I’ve gotten this far,” Mr. Dreiwitz recalled the student saying, “and now I must wait years, until I get into a major orchestra, before I get some really good experience. Where do I go from here?”The seed was planted, and took root: Mr. Dreiwitz held auditions for what he initially called the North Shore Symphony Orchestra in September 1962. He started with just 52 musicians, and they held a concert the next spring. A few years later, he took them on their first trip, to Chicopee, Mass.It was stop and go in the early years, with Mr. Dreiwitz hitting up Nassau County music teachers to find promising players. But by the end of the 1960s, he no longer needed to. Eager students lined up outside his travel agency to audition, and every year he had a wait list. The orchestra went on its first overseas trip, to Europe, in 1971.He took emeritus status in 2012, handing the baton to Scott Dunn, a former student. He continued to come in to rehearsals at L.I.U. Post, though less and less often, and then not at all.But Mr. Dreiwitzhad one more hurrah. In 2018, hundreds of alumni returned for a concert in his honor, and he even mounted the podium, to conduct a selection from his beloved “Porgy and Bess.” More

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      Fetty Wap Is Arrested on Federal Drug Charges at Citi Field

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      The rapper, who had been set to perform at the Rolling Loud music festival, was arraigned Friday on Long Island.The rapper Fetty Wap pleaded not guilty to federal drug charges on Friday, a day after he was arrested by F.B.I. agents at Citi Field, where he was scheduled to perform at the Rolling Loud music festival.The artist, whose legal name is Willie Junior Maxwell II, was arraigned at a federal court in Central Islip, N.Y. He and five co-defendants, including a former New Jersey corrections officer, were charged with one count of conspiring to distribute and possess controlled substances.Officials said the defendants distributed more than 100 kilograms of cocaine, heroin, fentanyl and crack across Long Island and New Jersey over a yearlong period beginning in June 2019. The other five defendants, who were arraigned on various dates within the past month, were also charged with using firearms in connection with drug trafficking.“The pipeline of drugs in this investigation ran thousands of miles from the West Coast to the communities here in our area, contributing to the addiction and overdose epidemic we have seen time and time again tear people’s lives apart,” Michael J. Driscoll, an assistant director-in-charge in the F.B.I., said in a statement.Mr. Maxwell, 30, who is from Paterson, N.J., rose to fame in 2015 with his hit single “Trap Queen,” in which he sings and raps about cooking drugs with a partner. The New York Times once described it as “shimmering and yelping and borderline whimsical,” and the song was nominated for a Grammy in 2016. Mr. Maxwell released a new mixtape called “The Butterfly Effect” last week.Mr. Maxwell was scheduled to perform on the first day of Rolling Loud, a traveling hip-hop festival, at Citi Field. Bobby Shmurda, Jack Harlow and 50 Cent were among the artists on the bill. A law enforcement official with knowledge of the case, but who was not authorized to speak publicly, said that Mr. Maxwell was taken into custody shortly after he arrived at Citi Field. He had been slotted to perform at 4:45 p.m., according to the festival’s website.Mr. Maxwell’s lawyer, Navarro W. Gray of Hackensack, N.J., said in a statement, “We pray that this is all a big misunderstanding.” Mr. Gray said he hoped that Mr. Maxwell would be released “so we can clear things up as soon as possible.”The rapper was represented by another lawyer, Elizabeth Macedonio, for his court appearance, which was conducted by video conference. He did not seek bail and was held in detention. The charge carries a minimum sentence of 10 years, and a maximum of life in prison.Ms. Macedonio did not immediately respond to a request for further comment; nor did Mr. Maxwell’s label, 300 Entertainment.Timothy D. Sini, the district attorney for Suffolk County, said the defendants had used eastern Long Island as the base for a multimillion-dollar drug ring.“They were wholesale drug dealers who pumped massive quantities of narcotics into our communities,” Mr. Sini said in a statement, adding, “The magnitude of this operation was enormous.”Three of the defendants had already been charged in connection with the case. In June 2020, the Drug Enforcement Administration, Mr. Sini’s office and other agencies announced charges against the former New Jersey corrections officer, Anthony Cyntje, now 23, of Passaic; Brian Sullivan, now 26, of Lake Grove, N.Y.; and Anthony Leonardi, now 47, of Coram, N.Y.The indictment unsealed Friday also included charges against Mr. Leonardi’s brother, Robert Leonardi, 26, of Levittown, Pa., as well as Kavaughn Wiggins, also 26, of Coram, N.Y.Prosecutors said the Leonardi brothers, Mr. Sullivan and Mr. Wiggins participated in the purchase and transport of drugs from the West Coast, while Mr. Maxwell was a “kilogram-level redistributor” and Mr. Cyntje transported cocaine to New Jersey.Patrick J. Brackley, a lawyer representing Mr. Cyntje, said that he was “alleged to have participated in only one day of the entire conspiracy” and that he had pleaded not guilty to the charges. Since his arrest on Oct. 13, Mr. Cyntje has been held at the federal Metropolitan Detention Center in Brooklyn, Mr. Brackley said. He was being held in quarantine because of Covid-19 protocols.When the authorities announced the charges last year, they identified Mr. Sullivan and Anthony Leonardi’s son James Sosa, then 25, as ringleaders of the operation, charging both with working as major drug traffickers, among other counts.A lawyer for Mr. Sullivan, David H. Besso, said he was “a regular kid from Long Island” and had pleaded not guilty to the charges. He has been in custody at Yaphank Correctional Facility since his arrest last year, Mr. Besso said.The authorities said Friday that they recovered $1.5 million in cash, numerous fentanyl pills, 16 kilograms of cocaine, two kilograms of heroin, two 9-millimeter handguns, two other pistols, a rifle and ammunition in the course of the yearlong investigation. More