January 9th, 2018

“National Sawdust is…currently the trendiest venue in classical music in New York.”

New York Classical Review

January 9th, 2018

“Trust me, you wish you’d been there…”

Broadway World

December 31st, 2017

“a room which looks even better than its pictures. Elegant, a gleaming black Boesendorfer concert grand parked center stage, the audience respectful, attentive.”


December 23rd, 2017

“The show’s set took up minimal space, yet with the help of projections, suggested vastness, as though a mountainous, Antarctic desert spanned the horizon.”


December 1st, 2017

“A devotional space for far-out sounds.”

The New York Times

November 27th, 2017

“National Sawdust in Brooklyn, New York is another great new venture that includes technology as part of the audience experience.”


November 26th, 2017

“National Sawdust is on the more interesting end of New Music.”

Daily Review Australia

November 25th, 2017

“It was the type of music you might associate with a traditional Ashkenazi wedding in a rural Polish shtetl…but only if you can imagine the band doing P-Funk covers.”
The New York City Jazz Record, in print

November 4th, 2017

“National Sawdust has become a major player on the new-music scene.”

The Washington Post

November 2nd, 2017

“Fantastic, genre-bending venue”

DEPARTURES Magazine, in print

November 2nd, 2017

Years ago, a disused 19th Century sawdust factory/warehouse was converted to an abruptly soaring music auditorium, with towering spaces, room for about 300, futuristic lighting, and a restaurant/bar. National Sawdust has been home to some of the world’s most illustrious contemporary composers and musicians, from Philip Glass to Terry Riley and John Zorn, with hosts like Esa-Pekka Salonen.

As well as–and this is the most important element– today’s young, dazzling, unknown, inventive creators. In fact, last night, seven of the composers were entirely new to me. Yet it was difficult not to fall madly in love with the variety, the verve, the vivacity from the performers and the music.”


October 13th, 2017

“National Sawdust’s interior is a complex design approach which, when done successfully, looks spectacular for its refined harmony.”

Architectural Digest

October 4th, 2017

”acoustics that rival the Sydney Opera House…a casual vibe nestled in an intimate high-end venue…by the very end of the journey, the audience was clapping, dancing, toasting, and hugging each other, thankful for a dreamy journey through nature’s four elements.”


September 25th, 2017

“[National Sawdust is] encouraging, uplifting, and supporting rising female musicians—both classical and non-classical. The season ahead is a multicultural endeavor boasting a team of nine female curators and artists-in-residence, and more. That’s definitely something worthy of a standing ovation.”


September 18th, 2017

“a cutting-edge music and event venue…inside, a soaring space, resonant as the inside of a guitar body.”

Direct Marketing News

August 29th, 2017

“this cutting-edge nonprofit venue is one of the sickest spots to catch a show in Brooklyn (if not all of NYC). Celebrating emerging artists, it’s your ticket to someday saying “I saw them before they were famous.”


August 7th, 2017

“full diversity and eclectic versatility of electroacoustic music was on vibrant, energetic display; the densely packed weekend of music was exciting, sometimes disconcerting and sometimes thrilling, and always fascinating.”

August 3rd, 2017

“Williamsburg’s National Sawdust has stolen the limelight…as the “go to” place for hip events in the classical industry.”

Gay City News

August 1st, 2017

“more tension into 90 minutes than a weekend binge-watch of slasher films…the intimate performance space at National Sawdust was packed to the rafters, with glitterati like Justin Vivian Bond and James Ivory sitting shoulder-to-shoulder… and utterly transfixed.”


July 29th, 2017

“among the most reliably rewarding destinations for innovative serious music in New York.”

La Scena Musicale

July 27th, 2017

“Brooklyn’s contemporary music sanctuary”

— I Care If You Listen

July 21st, 2017

“Riveting theater.”


July 20th, 2017

“Artistically, [National Sawdust’s] young and novel presence on the New York scene has been a smashing success.”

The New Yorker

July 14th, 2017

“Director Christopher Alden wrings every bit of unsettling darkness from this curious work in an excitingly contemporary production that employs inventive videos and even electronic tweaks of the instruments in the orchestra.”

The New York Times

July 10th, 2017

“[Countertenor Anthony Roth Costanzo] has this super pianissimo that just stops traffic. National Sawdust is a more ideal space than the massive Met to experience it.”

The New York Times

July 9th, 2017

“Always a pleasure to visit and revel in the exquisite sonics at National Sawdust.”

Lucid Culture

July 7th, 2017

“The new Establishment [of classical music]…includes Paola Prestini, the founding artistic director of National Sawdust.”

New York Magazine/Vulture

July 5th, 2017

“The vocally brilliant and dramatically fearless countertenor Anthony Roth Costanzo, working with the innovative opera director Christopher Alden, comes to National Sawdust in Brooklyn with a staged version of a Handel rarity: the 1708 dramatic serenata “Aci, Galatea e Polifemo.”

The New York Times

July 2nd, 2017

“Cutting-edge chamber opera is prominent at the stylish Williamsburg music club for the next two weeks.”

The New Yorker

June 25th, 2017

“During the sets, people are utterly silent; no one visits the restrooms; no one goes to buy a drink. The performances have our full attention, and the improvisational approaches are all the more exciting as the musicians experiment through their technology.”

Echoes and Dust

June 11th, 2017

“At National Sawdust in Williamsburg on Friday, the legendary avant-garde [William Basinski]’s music was confounding, overwhelming, and—just for a moment—eternal.”


May 29th, 2017

“This artist-led, non-profit music venue is cutting-edge in many ways… it has the music community of New York incredibly excited. Ideal for music lovers.”


May 9th, 2017

“A non-profit…with the modus operandi of providing support for young and up-and-coming composers inside a state-of-the-art sound space.”

National Trust for Historic Preservation

May 5th, 2017

#2 on the WSJ’s “Insider’s Guide to Brooklyn”

Wall Street Journal

February 10th, 2017

“National Sawdust has become more than a just place to see engaging contemporary music of all stripes. The Williamsburg venue has embraced its role as an educational space, with engaged programming that links the music to broader social issues.”

TimeOut New York

January 10th, 2017

“The buzz has shifted to National Sawdust, an artist-run nonprofit venue that opened in fall 2015 in Williamsburg.”

The Washington Post

December 23rd, 2016

“At its core, National Sawdust is a retooling of the 18th-century chamber hall model as an incubator for new music.”

The Architects Newspaper

August 31st, 2016

“National Sawdust… quickly establish[ed] itself as the preeminent presenter and resource for an eclectic diversity of downtown and contemporary concert music composers and performers.”

I Care If You Listen

June 27th, 2016

“National Sawdust has world-class sonics and is a perennially enjoyable place to take in a show.”

New York Music Daily

December 9th, 2015

“[National Sawdust] has been open only a few months. But it already feels like an invaluable part of the New York music scene.”

The New York Times

October 6th, 2015

“Nothing quite like [National Sawdust] exists in New York City, or anywhere else in the world, and it must be seen (and heard) to be believed indeed.”

The Village Voice

October 2nd, 2015

“National Sawdust, a deluxe live-music pod floating inside an old brick box in Williamsburg… seemed tough and full of magic.”

New York Magazine

Press Contact

John Hong
Public Relations Manager

21C Media Group
Glenn Petry & Jessica Lustig