Writing in the September 2016 edition of The American Organist, Kimberly Marshall and David Yearsley raved about the Houston Chamber Choir and Mary Preston's premiere performance of Zachary's Earthquake.

““Earthquake” is an imaginative setting of the eponymous text by Thomas Merton that promotes love and unity. Wadsworth’s rhythmic sophistication and lyrical finesse are reminiscent of Benjamin Britten; his understanding of the organ’s capabilities was apparent throughout the score, beautifully executed by Preston. The textures were clear, with the organ supporting and punctuating the choral parts. Wadsworth reserved the organ’s tutti for the conclusion of the piece; after the choir sang their final chord, the organ built to a powerful climax, suggesting the unity of all people. “Earthquake” is a stunning new work that deserves a lasting place in the repertoire.”

— Kimberly Marshall and David Yearsley, The American Organist

Sono Luminus has just released Shadow, echo, memory, an album by the Northwestern University Cello Ensemble. The disc opens with Zachary's Three Lacquer Prints, arranged by the composer for cello ensemble. Click here to purchase the CD from Amazon.

Writing for the San Francisco Chronicle, reviewer Joshua Kosman praised The Far West:

During the National Choral Awards banquet on May 22, Zachary's The Far West was named the Outstanding Choral Work of the year. Click here for more information about the awards, and to read about past winners and winners in other categories.

Bridge Records has just released Zachary's first complete album, The Far West. The album features gripping poetry by Tim Dlugos, who wrote from the front lines of New York's unfolding AIDS crisis. Sung by Luminous Voices and tenor Lawrence Wiliford, and conducted by Timothy Shantz, these words reflect on living vibrantly in the face of illness and death. 

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The Spiritus Chamber Choir's premiere of Zachary's Benedicite for chorus and orchestra won universal acclaim from critics:

“The most striking piece on the program was the newly commissioned work, Benedicite: A Song of Creation, by choir alumnus Zachary Wadsworth. Now working at Williams College, Wadsworth made an outsized contribution to the musical life of Calgary during the four years he lived here, singing in several choirs, teaching at The University of Calgary, and continuing to compose prolifically. He is still missed.

As an experienced chorister, Wadsworth has an insider’s knowledge of what works and works well as choral writing. His music fully embraces a modern style, but from within a practical knowledge of the extent and limits of amateur performance.

As with Far West, the extended secular cantata that made such a powerful impression when it was performed in Calgary, this new work contains vivid musical ideas and strikingly impressive choral and instrumental textures. Using the same instrumentation as Vivaldi’s Gloria, this new setting of the Benedicte, a text familiar in its English version to all traditionally oriented Anglicans, is set as one, continuous movement. With it, however, there is much contrast in style and pacing, the music evidently alive at every turn.

The Spiritus Chamber Choir clearly relished the task it was given, and rose to the demands of the complex chords, solo passages for the various sections, and the need for powerful, rich choral singing. For a first performance, this was impressive work.”

— Kenneth Delong, Calgary Herald

“Wadsworth’s modernist piece grabbed the audience’s attention from the start with bold strokes of violin bows. Rich choral voices were soon melding with calm, pastoral tones produced by the chamber orchestra (including some members of the RDSO).

Although Wadsworth kept the same D Major key as Vivaldi for his original composition, he chose not to use soloists. Instead the colourful verses were written for the whole choir to perform. But just as in Gloria, Wadsworth’s Benedicte Dominum alternated in mood, from serene to impassioned. And it ended in celebratory style.

The appreciative audience gave Wadsworth a standing ovation.”

— Lana Michelin, Red Deer Advocate