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FULL CV 2017

AWARDS:

2003 California Media Festival – Best Director for a short film
2007 Nominated for Chadbourne Prize
2008 Wesleyan Summer Experience Grant
2009 Olin Fellowship
2010 High Honors from Wesleyan University Music department (B.A.)
2011 Fulbright Scholarship to Poland, Music
2012-2013 Northern California Development Fund Award for Koans and Performance Project
2013 Rudolf Steiner Social Finance Award for Koans and Performance Project
2014 CEC Arts Link Fellowship for project "HOWL"
2014 Rudolf Steiner Social Finance Award for "Go Down, Moses"
2015 "Go Down Moses" UBU Prize (Italy) for best design
2015 Rudolf Steiner Social Finance Awards for VALES and Theban Plays
2016 Creative Capital Panel Finalist
2017 MDOCS Skidmore College Fellowship (with Gedney Barclay)
2017 MacDowell Colony Fellowship

FULL PRESS KIT 2017

Selected Press:

"... requires your full attention, as you wrench out your own private moments of joy.… a world both hermetic and cracked open… the myths are alive, bigger than us, and liable to slip into our daily lives unexpectedly. In Horvitz’s work, where the true essence of the play is revealed incidentally, Jung’s combustible worldview is on full display." – Eric Marlin, New York Theater Review

".... expertly played with a small ensemble combining the emotional heft and instrumental lyricism of Nico Muhly's vanguard-leading neo-classical and the knotty avant-pop of Nat Baldwin or Liam Singer, Horvitz turns tragedy into an engrossing treatise on loss that feels universal and acutely personal..." – TOME TO THE WEATHER MACHINE

"…. not so much a familiar sound… but an original one that helps your memory stir and bring you back to the years before… That calm serene vocal echo … Atmospheric structures like buildings encapsulating imagination from the past… Or distant singing of a familiar melody that you can’t put your finger on, but it’s the window of time that it brings you to that’s most important. Listen. Witness… " – Tiny Mix Tapes on VALES

".... If there was one album [in 2015] that put a loss of faith in the universal yet agonizingly personal realm of the loss of a loved one, it was Asa Horvitz’s chamber-pop ode to the death of his best friend at the age of 23... Vales offers call-and-response contrast to crushing existential questions about the fragility and randomness of existence with knotty, fully fleshed orchestral compositions held under the sway of Horvitz’s beautifully unpolished and striving vocals" – TOME TO THE WEATHER MACHINE

"....the piece even defies its most obvious classification as an adaptation... Theban Plays left me with more questions than conclusions about our contemporary connections to Sophocles, about audience-performer relationships, and about art itself." – Theater Is Easy

"Can car horns become music?" – Theater is Easy

"...A stellar international ensemble of performers.... considerable talent in this music–theater performance" – Polish Cultural Institute of Los Angeles on "Koans and Performance Project/We Are Still Here"

“If theater to you is sustenance, if you are the sort of person who savors the daring and the visionary, then head to New Jersey, where the Italian avant-garde director Romeo Castellucci and his company, Societas Raffaello Sanzio, are offering a thrilling repast… I don’t know why a smile spread across my face when I watched a giant piece of machinery that Mr. Castellucci invented — a long, low, rotating horizontal cylinder — spin faster and faster while a turbine-engine sound reached an excruciating volume and pitch... You might not realize how entirely you’ve entered into his world until he jolts you by changing its frame again... strangely, deeply moving...” Laura Collins Huges, The New York Times June, 2016 (on Go Down, Moses

"Clever, witty, and honest as hell" – Daytrotter

"Living minimalist music… an impressive body of work” – Rzeczpospolita (One of Poland’s leading daily newspapers)

"…These are the tunes serious artists often write when not thinking too hard about things, and most of us can only dream of whipping up a tune like this from scratch. “Hair White” is another stunning presentation… layered vocals complemented by shuffling brush-drums, acoustic riffs… Don’t even get me started on “Stemmer.” It’s fantastic." – Tiny Mix Tapes

"I very rarely feel anger when listening to music, even metal, but when I listen to this track, I can barely contain the rage." – Tiny Mix Tapes

" … a perfect representation of quality musicianship… shifts effortlessly from moments of delicate composition into something that is chaotic, free… delivered in a haunting voice that has remained in mind long after [the] set ended." – The Vinyl District (Cleveland)

"Quirky lyrics and serious musicianship… honed symphonic tunes” – Eleven Magazine (Portland)