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The New York Times

February 1, 2011

By Allan Kozinn

Like most composers, Julia Wolfe is often in two places at once psychically: working on new pieces (with working defined as anything from cogitating and experimenting to actually putting the notes on paper) but also seeing that the backlist is getting attention. In recent weeks she has been putting the finishing touches on “Iron Maiden,” a new solo work for the percussionist Evelyn Glennie, and working on “Combat de Boxe,” for the Asko Ensemble of the Netherlands…

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Pittsburgh Tribune-Review

April 22, 2015

Julia Wolfe descended hundreds of feet underground, into a dank, dark cavern with gleaming black walls: a Pennsylvania coal mine.

“You can’t believe people spent all day there,” Wolfe recalled Tuesday. “It was spooky, a little bit, but so fascinating, a strange kind of beauty.”

Wolfe’s visit helped inspire “Anthracite Fields,” a choral tribute to the state’s mining heritage – and, now, winner of the Pulitzer Prize in music. The judges described her work as a “powerful oratorio for chorus and sextet evoking Pennsylvania coal-mining life around the turn of the 20th Century.”

“I’m a little stunned,” Wolfe, a music professor at New York University, said a day after her win…

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