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Robert Levin Department of Music, Harvard University Cambridge, MA 02138 dsdfdfdfkfkfkfkfkfkfkkfkfkfkfkfkfkkkkfkfkfkfkfirropoa]poisor\[weor-pwop[roero[ewor[pop[wor[ewo[rpoqro[pworpowpe[row Performing Experience A complete list of performing activities exceeds the scope of a curriculum vitae. What follows is a summary of only the most important performances. a. Soloist with orchestras in the United States, Europe and Australia (piano, forte-piano, harpsichord): Berlin, Los Angeles, Vienna Philharmonics, Baltimore, Boston, Chicago, Melbourne Symphony Orchestras, Cleveland and Concertgebouw Orchestras; Academy of Ancient Music, English Baroque Soloists, Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, Orchestra of the 18th Century, Orchestre Révolutionnaire et Romantique (period instruments). Especially recognized for Mozart and Beet-hoven per-formances, featuring cadenzas and embellishments improvised afresh at each concert. Representative repertoire: Bach: Brandenburg Concerto No. 5;
Triple Concerto BWV 1044; complete concertos for 1-4
keyboards It should be observed that I learn music extremely rapidly, and that there are few works in the standard repertoire that I could not play with three weeks' warning. Conductors with whom I have collaborated include: Frans Bruggen b. Solo recitals in the United States, Europe and Asia on piano, fortepiano, and harpsichord. Again there are no practical limits to my repertoire with a little advance warning. A representative selection of composers whose music is in my repertoire: Alkan c. Free-lance chamber music artist
in Europe and the United States with such colleagues
as: Samuel Baron Participant in international music festivals: Oregon Bach Festival, Ravinia, Sarasota, Tangle-wood (USA); Mozartwoche Salzburg, Lockenhaus (Austria); Sofia (Bulgaria); Kuhmo (Finland). Pianist, Ensemble Sequenza (Germany), 1984-1991 Pianist, New York Philomusica, 1971- Harpsichord/Organ continuo, Cantata Singers, Boston, 1968-1974 Harpsichordist and pianist, Boston Symphony Orchestra, 1968-1973 (continuo and solo harpsichord, piano, and performances/ recordings with the BSO Chamber Players; see recordings, below). All continuo performances here and elsewhere improvised, including in the record-ings mentioned below. Premières of many works, e.g., Brehm: Sextet (1976), Tre Canzone (1980); Denissov, Paysage au Clair de Lune (1985); Fineberg, Veils (2001); Hamilton: "Hy-per-i-on" (1977); Harbison: Trio (1969), Die Kürze (1970), "Bermuda Triangle" (1971), Due Libri dei Motetti di Montale (1992)(conductor, celesta), Piano Sonata No. 2 (April 2003); Lee: 29 Fireflies, Book III (2001); Shifrin: Duo for Violin and Piano (1970); Five Songs (1979); Walden: Maquettes for 2 pianos, with Ya-Fei Chuang. Commissioner and/or dedicatee of the following works: Joshua Fineberg, Veils (with Thomas Forrest Kelley)(2001); John Harbison, Piano Trio (with Bentley Layton and Helen Abrahamian)(1969), Die Kürze (1970), Piano Sonata No. 2 (2003); Thomas Oboe Lee, 29 Fireflies, Book III (2000); Stanley Walden, Maquettes for Two Pianos (with Ya-Fei Chuang)(2003), Wyner, Work for piano and orchestra with Boston Symphony (2004). Compositions, Compositional Work a. Original compositions include: two clarinet sonatas (1967-1968; 1961) 2 Short Piano Pieces (1966-1967) Bassoon Sonata (1965-1966) Woodwind Quintet (1965) Piano Quartet (1964-1965) Piano Sonata (1962) b. Bach completions. Reconstructions of missing solo intrumental lines to the following movements, commissioned by Sir John Eliot Gardiner for his 1999/2000 Bach Cantata Pilgrimage: Cantata 37: No. 2, "Der Glaube ist das Pfand der Liebe" (violin) Cantata 139: No. 2, "Gott ist mein Freund; was hilft das Toben" (violin) Cantata 162: No. 3, "Jesu, Brunnquell aller Gnaden" (two versions: 1 or 2 oboes) Cantata 181: No. 3, "Der schädlichen Dornen unendliche Zahl" (violin) Cantata 188: No. 1, Sinfonia (organ
obbligato, 2 oboes, taille, strings, mm. 1-248); c. Mozart completions. The two
dates following each work refer to the date of Mozart's
fragment and Symphonie concertante in E-flat major for flute, oboe, horn, bassoon and orchestra, K.297B/Anh.9, reconstructed from the dubious Sinfonia concertante in E-flat major for oboe, clarinet, horn bassoon and orchestra, K.Anh.,C14.01/297b (1778; 1981-1983) Allegro of a Oboe Concerto in F major, K.293 (416f) (1778; 1969/1987) *Allegro of a Concerto in D major for piano, violin and orchestra, K.315f/Anh.56 (1778; 1967-1968) Allegro of a Sinfonia concertante in A major for violin, viola, 'cello and orchestra, K.320e/Anh.104 (1779; 1969/1988) Horn Concerto in E-flat major, K.370b+371 (1781; 1993/1997) Larghetto and Allegro in E-flat major for 2 pianos (no K. no.) (1781?; 1983) Allegro of a Sonata in G major for piano four-hands, K.497a/357,i (1788; 1992) *Allegro of a Quintet in B-flat major for clarinet and strings, K.516c/Anh. 91 (1790-1791?; 1968) Horn Concerto in D major, K.412/386b (1791; 1993) Requiem in D minor, K. 626 (incorporating *Amen-Fugue to follow the Lacrimosa)(1791; *1966-1967, 1982, 1990-93)
J. S. Bach: Concerto for Flute, Violin- and Harpsichord in A minor, BWV 1044 Beethoven: Violin Concerto in D major, Op. 61 Franti_ek Benda: Flute Concerto in G major J. Haydn: Concerto for Violin and Keyboard in F major Symphony No. 6 in D major ("Le Matin") Franz Hoffmeister: Viola Concerto in D major W. A. Mozart: Exsultate, jubilate, K.158a/165 Violin Concerto in B-flat major, K.207 Violin Concerto in D major, K.211 Violin Concerto in G major, K.216 Violin Concerto in D major, K.218 Violin Concerto in A major, K.219 ("Turkish") Serenade in D major, K.248a/250 ("Haffner") Violin Concerto in D major, K.271a/i Oboe Concerto in C major, K. 271k/285d/314 Flute Concerto in G major, K.285c/313 Flute Concerto in D major, K.285d/314 Andante for Flute and Orchestra in C major, K. 285e/315 Oboe Concerto in F major, K.293 (416f) Symphonie concertante in E-flat major for flute, oboe, horn, bassoon and orchestra K.297B/Anh. 9 Concerto for flute and harp in C major, K.297c/299 Concerto for piano, violin and orchestra in D major, K.315f/Anh.56 Sinfonia concertante in A major for violin, viola, 'cello and orchestra, K.320e/Anh.104 Duo for Violin and Viola in B-flat major, K. 424 Horn Concerto in E-flat, K. 370b+371 Horn Concerto in E-flat, K. 447 Horn Concerto in E-flat, K. 495 J. Stamitz: Complete clarinet concertos Viola Concerto in D major, Op. 1 These have been recorded and
performed throughout the world. Works marked with an asterisk (*) constitute excerpts from The Unfinished Works of W. A. Mozart--the Harvard thesis cited earlier. a. Music Mozart: Kadenzen zu Mozarts Violinkonzerten von Robert Levin mit einem Vorwort von Gidon Kremer/Cadenzas to Mozart's Violin Concertos by Robert Levin with a preface by Gidon Kremer. [Contains two versions with combinatorial possibilities for all cadenzas and lead-ins for the concertos K.207, 211, 216, 218, 219.] Vienna 1992: Universal-Edition UE 17588. Cadenzas and lead-ins to K.219 reprinted in UE 1901-2001. Violin. Herausgegeben von/edited by/édité par Gidon Kremer. Vienna 2001: Universal-Edition UE 22002, 7-11. Mozart: Konzert für Klavier und Orchester („Jeunehomme") Es-dur KV 271 / Concerto for Piano and Orchestra ("Jeunehomme") in E flat major KV 271. Herausgegeben von / edited by Cliff Eisen · Robert D. Levin. Wiesbaden · Leipzig · Paris 2001: Breitkopf & Härtel (orchestral score: PB 5300; 2-piano score EB 8640) Mozart: Allegro to an Oboe Concerto in F major, K.293/416f. Fragment, completed by Robert D. Levin. Frankfurt etc.: C. F. Peters Mozart: Sinfonia concertante in E-flat major for flute, oboe, horn, bassoon and orchestra, KV Anh. I/9 (297b)[recte: 297B]. Recon-struc-tion by Robert Levin (based on the Sinfonia con-cer-tante in E-flat major for oboe, clar-i-net, horn, bassoon and orchestra K.297b/Anh. C14.01). Kassel etc.: Bären-reiter-Verlag: score and parts 1983, BA 7137; piano reduction by Michael Töpel 1991, BA 7137a Mozart: Flötenkonzert G-dur KV 313. Klavierauszug. Heraus-gegeben von András Adorján. Klavierauszug von Siegfried Petrenz. Kadenzen und Eingänge von Robert D. Levin. München 2000: G. Henle Verlag 673 Mozart: Flötenkonzert D-dur KV 314. Klavierauszug. Heraus-gegeben von András Adorján. Klavierauszug von Siegfried Petrenz. Kadenzen und Eingänge von Robert D. Levin. München 2000: G. Henle Verlag 674 Mozart: Oboenkonzert C-dur KV 314. Klavierauszug. Herausgegeben von Ingo Goritzki. Klavierauszug von Siegfried Petrenz. Kadenzen und Eingänge von Robert D. Levin. München 2000: G. Henle Verlag 695 Mozart: Andante für Flöte und Orchester C-dur KV 315. Heraus-gegeben von Henrik Wiese. Klavierauszug von Jan Philip Schulze. Kadenzen von Robert D. Levin. München 2000: G. Henle Verlag 675 *Mozart: Allegro to a Concerto in D major for piano, violin, and orchestra K.315f/Anh.56. Fragment, completed by Robert D. Levin. Kassel etc. 1968: Bärenreiter-Verlag BA 3929 Mozart: Allegro to a Sinfonia concertante in A major for violin, viola, 'cello and orchestra K.320e/Anh. 104. Fragment, completed by Robert D. Levin. Wiesbaden etc. 1995: Breitkopf & Härtel Mozart: Larghetto and Allegro in E-flat major für 2 Klaviere (KV deest). Herausgegeben und ergänzt von Robert D. Levin. Frankfurt etc. 1992: C. F. Peters 8721 Mozart: Horn Concerto in E-flat major, K. 370b+371. Completed and reconstructed by Robert D. Levin, Wiesbaden etc.: Breitkopf & Härtel Mozart: Hornkonzert Nr. 3 Es-dur, KV 447. Klavierauszug. Heraus-gegeben von Henrik Wiese. Klavierauszug von Jan Philip Schulze. Kadenzen und Eingänge von Robert D. Levin. München 2000: G. Henle Verlag 703 Mozart: Hornkonzert Nr. 4 Es-dur, KV 495. Klavierauszug. Heraus-gegeben von Henrik Wiese. Klavierauszug von Jan Philip Schulze. Kadenzen und Eingänge von Robert D. Levin. München 2002: G. Henle Verlag 704 *Mozart: Allegro to a Quintet in B-flat major for clarinet and string quartet, K.516c/Anh.91. Fragment, completed by Robert D. Levin. Kassel etc. 1970: Nagels Musik-Archiv 221 Mozart: Horn Concerto in D major, K.412/386b. Reconstructed by Robert D. Levin. Wiesbaden etc.: Breitkopf & Härtel Mozart: Requiem, KV 626. Fragment, completed by Robert D. Levin. Neuhausen-Stuttgart 1994: Hänssler-Verlag 391.862/01 (including *Amen-Fugue) b. Books Sightsinging and Ear Training Through Literature. Englewood Cliffs 1988: Prentice-Hall. Co-authored with Louis Martin, this book is derived from the Lingua Musica series (see below). Who Wrote the Mozart Four-Wind Concertante? Stuyvesant 1988: Pendragon Press. c. Articles and Book Chapters "Performing Mozart's Keyboard Music", Mozart Society of America Newsletter, Vol. VI, No. 2 (27 August 2002), pp. 1, 4-6. "Musik aus den Ärmeln geschüttelt &endash; Mozart und die Improvisation", in: Gedanken zur Musikkritik. Festschrift zum 75. Geburtstag von Wolf-Eberhard von Lewinski, ed. Rita Wilhelm. Jena 2002: Verlag IKS Garamond (2002)(in German) "K. 488: Mozart's Third Concerto for Barbara Ployer?" in: Mozartiana. The Festschrift for the Seventieth Birthday of Professor Ebisawa Bin. 2001. pp. 555-570; Japanese translation, pp. 45-57: "Mozart's E-Minor Fugue for Keyboard: Chronicle of an Abandoned Labor," Mozart Society of America Newsletter IV/2 (27 August 2000), 10-11. "Mozart's Deliberate Use of Incorrect Key Signatures for Clarinets." Co-authored with Daniel N. Leeson. Mozart-Jahrbuch 1998, 139-152. "Performance prerogatives in Schubert," Early Music XXV/4 (November 1997), 723-727. "Mozart's Solo Keyboard Music;" "Mozart's Keyboard Concertos," in: Eighteenth-Century Keyboard Music (edited by Robert L. Marshall). New York 1994: Schirmer Books, 308-349, 350-393. "Zu den Ergänzungen von Mozarts Requiem in der 2. Hälfte des 20. Jahrhunderts," in: Historia Musicae Europae Centralis. Musik Mitteleuropas in der 2. Hälfte des 18. Jahrhunderts. Bericht über die Internationale musikwissenschaftliche Konferenz Bratislava, 23. bis 25. März 1992. Herausgeber Pavol Polàk. Institut für Musikwissenschaft der Slowakischen Akademie der Wissenschaften. Bratislava 1993: ASCO Art & Science, 179-205. (In German.) "Improvised embellishments in Mozart's keyboard music," Early Music XX/2 (May 1992), 221-233. "Zur Musiksprache der Süßmayr zugeschriebenen Sätze des Requiems KV 626," Mozart-Jahrbuch 1991, 475-493. (In German.) "Improvised embellishments in Mozart's keyboard music," Early Music, May 1992, 221-233. "Concertos," in: The Mozart Compendium (edited by H. C. Robbins Landon). London 1990: Thames & Hudson, 263-271. French edition: Dictionnaire Mozart. (traduit par Dennis Collins). 1990: Editions Jean-Claude Lattès, 344-357. German edition: Das Mozart Kompendium. Sein Leben&emdash;Seine Musik. Übersetzt aus dem Englischen von Dr. Fred Büttner, Marlis Fest, Christine Mrowietz. Munich 1991: Droemer Knaur, 300-311. "Instrumental Ornamentation, Improvisation and Cadenzas," in: Performance Practice (The New Grove Handbooks in Music), edited by Howard Mayer Brown und Stanley Sadie. London 1989: Macmillan Press, 267-291. "Mozarts Bläserkonzertante Anh. 9/297B und ihre Rekonstruk-tionen im 19. und 20. Jahrhundert." Mozart-Jahrbuch 1984-85, 187-207. (In German.) "Improvisation and Musical Structure in Mozart's Piano Concertos." L'interpretation de la Musique Classique de Haydn à Schubert. Colloque international, Évry, 13-15 octobre 1977. Geneva 1980, Minkoff, 45-55. (English version of a paper delivered in French.) "On the Authenticity of K. Anh. C 14.01 (297b), a Symphonia [recte: Symphonie] Concertante for Four Winds and Orches-tra." Co-authored with Daniel N. Leeson. Mozart-Jahrbuch 1976/77, 70-96. "Improvisation and Embellishment in the Mozart Piano Concertos." Musical Newsletter, Vol. V, No. 2 (Spring 1975), 3-14. *"Das Konzert für Klavier und Violine D-Dur KV Anh. 56/315f und das Klarinettenquintett B-Dur KV Anh. 91/516c: Ein Ergänzungs-versuch." Mozart-Jahrbuch 1968/70, 304-326. (Title in German. Paper in English.) d. Program and Liner Notes Program notes have appeared in at Alice Tully Hall and Merkin Concert Hall (New York), John F. Kennedy Center (Washington D.C.), Hollywood Bowl (Los Angeles, California), Salzburg Festspielhaus (Austria), Berlin Bach-Fest (Germany), etc. Notes to the following works appear in The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, ed. Neal Zaslaw with William Cowdery. Mozart Bicentennial at Lincoln Center and W. W. Norton & Company, New York and London 1990: Serenade in B-flat major for 12 winds and string bass, K.361/370a (248), Sonata in D major for piano 4-hands, K.381/123a (300), Sonata in D major for two pianos, K.448/375a (301), Larghetto and Allegro in E-flat major for two pianos (301-302), Fugue in C minor for two pianos, K.426 (302), Sonata in F major for piano 4-hands, K.497 (302). Liner notes have appeared to the following recordings: Bach: English Suites (Hänssler) Bach: The Well-Tempered Clavier, Book II (Hänssler) Beethoven: Complete Piano Concertos and Choral Fantasy (DG Archiv) Brahms/Mozart-Levin: Clarinet Quintets Op. 115 and K.516c/Anh.91 (Nonesuch) Debussy/Poulenc: Flute Works (Mirror Image) Mozart: Piano Concertos (Archiv) Mozart: Piano Concertos (Decca/Oiseau-Lyre) Mozart: 17 Divertimenti (3 Vox Boxes ; New York Philomusica Records) Mozart: Divertimento in D major, K.320b/334 with March in D major, K. 320c/445 (Candide) Mozart: Wind Serenades (Vox Box; New York Philomusica Records) Mozart: 4-hand Sonatas in F major, K.497, and D major, K.381/123a (None-such) Mozart, Music for Two Fortepianos (Sonata in D major, K.375a/448, Fugue in C minor, K.426, Larghetto and Allegro in E-flat major, completed by R. D. Levin, Nonesuch) Mozart: Requiem in D minor, K.626 (Hänssler, Dorian) Mozart: Symphonie concertante in E-flat major, K.297B/Oboe Concerto in C major, K.314 (Philips) Mozart: Symphonie concertante in E-flat major, K.297B/ Concerto in C major for flute and harp K.299 (CBS) Schubert: Music for Piano Four Hands (DG Archiv)(co-authored with Malcolm Bilson) e. Reviews Bastiaan Blomhert, The Harmoniemusik of Die Entführung aus dem Serail by Wolfgang Amadeus Mozart. Study about its authenticity and Critical Edition. Mozart-Jahrbuch 1989/90, 268-285. Frederick Neumann, Ornamentation and Improvisation in Mozart. JAMS, Vol. XLI, No. 2 (Summer 1988), 355-368. f. Textbooks. All of the following have been circulated in private publications. They are/have been used at SUNY Purchase, Hunter College/CUNY, University of Texas at Dallas, MIT, Carnegie Mellon University, the Curtis Institute of Music, and Harvard University (extracts). Lingua Musica (3 vols.). A comprehensive approach to fundamentals of music theory (Elements of Music), Vol. I; solfège (sightsinging, clef-reading, etc.), Vol. II; and rhythm, Vol. III. The text contains extensive drills that supplement an unprecedently wide selection of apt examples from the literature. Co-authored with Louis Martin. 16th Century Two- and Three-Part Counterpoint (privately pub-lished as "The Ins and Outs of Counterpoint"). The five species, free, invertible, and imitative counterpoint. Works from the period are included for analysis. Co-authored with Myron Fink and Louis Martin. Functional Harmony. A traditional harmony text, derived from the authors' long study with Nadia Boulanger. Co-authored with James S. Harrison and Louise Talma. Superseded by the text below. The Syntax and Structure of Tonal Music; Workbook for The Syntax and Structure of Tonal Music. A major expansion of the preceding text, with increased analytical work, consideration of musical form, and a vast selection of literature for analysis, with new exercises of broadened scope. g. Miscellaneous Haydn Studies, edited by Jens Peter Larsen, Howard Serwer, and James Webster. New York and London 1981: Roundtable and panel participant, performer; cf. 185-202, 213-221 Recordings The dates refer to when the recording was made, not the commercial release, unless otherwise indicated. Auric: Imaginées III, for clarinet and piano, with Eduard Brunner. (Opus 7063-2)(1987) Bach: Cantatas 7, 44, 101 (organ continuo). Cantata Singers, Harbison, cond. (Advent RD 1015)(1973) Bach: Harpsichord Concertos in D minor, E major and D major, BWV 1052-1054, on harpsichord. Bach-Collegium Stuttgart, Helmuth Rilling. Hänssler 92.127 (Edition Bachakademie, Vol. 127)(1999) Bach: Harpsichord Concertos in A major, F minor, F major and G minor, BWV 1055-58, on harpsichord. Bach-Collegium Stuttgart, Helmuth Rilling. Hänssler 92.128 (Edition Bachakademie, Vol. 128)(1999) Bach: Concertos for Two Harpsichords in C minor, C major, C minor and C major, BWV 1060-62, 1061a, on harpsichord, with Jeffrey Kahane. Oregon Bach Festival Chamber Orchestra, Helmuth Rilling. Hänssler 92.129 (Edition Bachakademie, Vol. 129)(1999) Bach: Concertos for Three Harpsichords in D minor and C major, BWV 1063-64, with Mario Videla and Michael Beringer; for Four Harpsichords in A minor (after Vivaldi), with the foregoing and Boris Kleiner; for Flute, Violin and Harpsichord in A minor, BWV 1044, with Jean-Claude Gérard and Isabelle Faust; Brandenburg Concerto No. 5, early version, BWV 1050a (same), on harpsichord. Bach-Collegium Stuttgart, Helmuth Rilling. Hänssler 92.130 (Edition Bachakademie, Vol. 130)(1999, 2000) Bach: English Suites, BWV 806-811, on piano. Hänssler 92.113 (2)(Edition Bachakademie, Vol. 113)(1999) Bach: The Well-Tempered Clavier, Book I, on one- and two-manual harpsichord, clavichord, and organ. Hänssler 92.116 (2)(Edition Bachakademie, Vol. 116)(2000) Bach: The Well-Tempered Clavier, Book II, on one- and two-manual harpsichord, clavichord, organ, and fortepiano. Hänssler 92.117 (2)(Edition Bach-akademie, Vol. 117)(2000) Beethoven: The Piano Concertos. Choral Fantasy. Chamber versions of Piano Concerto No. 4 in G major, Op. 58 and Symphony No. 2 in D major, Op. 36, on five fortepianos. Orchestre Révolutionnaire et Romantique, John Eliot Gardiner. Archiv 459 622-2 (1995, 1996, 1997) Beethoven: Piano Concertos No. 1 in C major, Op. 15; No. 2 in B-flat major, Op. 19; Rondo in B-flat WoO 6, on fortepiano. Orchestre Révolutionnaire et Romantique, John Eliot Gardiner. Archiv 453 438-2 (1995, 1996) Beethoven: Piano Concertos No. 3 in C minor, Op. 37; No. 4 in G major, Op. 58, on fortepiano. Orchestre Révolutionnaire et Romantique, John Eliot Gardiner. Archiv 457 608-2 (1997) Beethoven: Piano Concerto No. 5 in E-flat major, Op. 73 ("Emperor"); Choral Fantasy, Op. 80, on fortepiano. Orchestre Révolutionnaire et Romantique, Monteverdi Choir, John Eliot Gardiner. Archiv 447 771-2 (1995) Beethoven: Quintet in E-flat major for piano and winds, Op. 16; Sonata in F major for piano and horn, Op. 17; Mozart: Quintet in E-flat major for piano and winds, K.452; with The Academy of Ancient Music Chamber Ensemble (Frank de Bruine, ob/Antony Pay, cl/Anthony Halstead, hn/Danny Bond/bn), on period instruments. Decca/London 455-994-2 (1995, 1996)(Diapason d'or, November 1998) Brahms: Piano Quartet in G minor, Op. 25; Clarinet Trio in A minor, Op. 114. New York Philomusica. (Philomusica NYPm10023-6-2)(1993) Brahms: Liebeslieder Waltzes, Op. 52; 4 Quartets, Op. 92; with Monteverdi Choir, John Perry, John Eliot Gardiner. (Philips 432 152-2)(1990) Brahms: Sonatas for Viola and Piano, Op. 120, with Kim Kashkashian. (ECM 1630 [78118-21630-2])(1996)(Record of the Month, Fono Forum, December 1997; Grammy award nomination, 1999) Brehm: Sextet. New York Philomusica. (Philomusica NYPm10023-3-2)(released 1996) Carter: Sonata (1952) for Flute, Oboe, 'Cello and Harpsichord. BSO Chamber Players (Deutsche Grammophon 2530 104)(1969) Danzi: Sonata in B-flat for clarinet and piano, with Charles Neidich. (SONY Classical SK 64302)(1993) Denisov: Ode (1968), with Eduard Brunner (clarinet) and Peter Sadlo (percussion). (col legno WWE 1CD 31864)(1989) Dohnányí: Sextet in C major, Op. 37. L'Ensemble. (Basle radio recording, Switzerland = SRG/DRS)(1988) Durey: Arrêtons-nous, for clarinet and piano, with Eduard Brunner. (Opus 7063-2)(1987) Falla: Harpsichord Concerto. Sender Freies Berlin (=SFB). Fauré: Piano Quartet No. 2 in G minor, Op. 45. L'Ensemble. (WDR radio recording, Cologne, Germany)(1986) Fink: Six Songs to texts of Witter Bynner, with Christine Whittlesey. (Norwegian Radio = NRK)(1984) Foss: Elytres. New York Philomusica, Foss cond. (Turnabout TV-S 34514) Gershwin: Three Preludes. (NRK)(1984) Hamilton: "Hyperion" (1977); Sonata notturna for Horn and Piano (1965); Five Scenes for Trumpet and Piano (1966); Sonata for Flautist and Piano (1966). New York Philomusica (Philomusica NYPm10023-3-2)(released 1996). Harbison: Bermuda Triangle (1971), with Helen Harbison and Albert Regni. (CRI SD 313)(1973) Harbison: Fantasy Duo (1988), with Rose Mary Harbison. (Archetype 60104)(1994) Haydn: Four Piano Trios (Hob. XV:27-30), with Vera Beths and Anner Bylsma. (SONY Classical SK 53120)(1992) Hindemith: Complete Sonatas for Viola and Viola & Piano (Op. 11/4; Op. 25/4; 1939); with Kim Kashkashian. (ECM New Series 1330-32 [LP: 833 309-1 (3); CD: 833 309-2 (2)])(1986)(Record of the Month, Fono Forum, Record of the Month, Handelsblatt, July 1988; Grammy award nomination, 1988) Honegger: Sonatina for clarinet and pano, with Eduard Brunner. (Opus 7063-2)(1987) Ives: Largo (1902) for violin, clarinet, and piano. BSO Chamber Players (Deutsche Grammophon 2530 104)(1969) Kirnberger: Sonata in G Major for flute and continuo, with Paige Brook (flute) and Gerald K. Appleman ('cello)(Philomusica NYPm10023-2-2)(1992) Kupferman: Sound Phantoms II (viola and piano), with Kim Kashkashkian (Philomusica NYPm10023-3-2)(released 1996). Kurtág: Hommage à R. Sch., with Eduard Brunner and Kim Kashkashian (ECM New Series 1508 [437 957-2])(1992)(Musik & Ästhetik&emdash;Interpretationspreis 1999) Laderman: Nonette. New York Philomusica (Philomusica NYPm10023-3-2)(released 1996). Mendelssohn: Sonata in E-flat for clarinet and piano, with Charles Neidich. (SONY Classical SK 64302)(1993) Mendelssohn: Two Characteristic Pieces from Op. 7. (NRK)(1984) Messiaen: Le Merle Noir, with Paige Brook. (Candide CE 31050, rereleased VoxBox CDX 5083[CD]); Mirror Image MIP-1005)(1971) Messiaen: Quartet for the End of Time (1941). New York Philomusica (Candide CE 31050, rereleased VoxBox CDX 5083 [CD])(1971) Messiaen: Quartet for the End of Time (1941), excerpts, with Hansheinz Schneeberger, Eduard Brunner and Boris Pergamen-schikow (live recording, Lockenhaus Chamber Music Festival). (Philips 434 031-2)(1990) Milhaud: Duo concertant for clarinet and piano, with Eduard Brunner. (Opus 7063-2)(1987) Mozart: Keyboard Concertos in F major, K.37; in B-flat major, K.39; in D major, K.41; in G major, K.41, on harpsichord. Academy of Ancient Music, Christopher Hogwood (Decca/Oiseau Lyre 466 131-2)(1998) Mozart: Piano Concertos in D major, K.175 (1782 version with K.382 as finale); in E-flat major, K.449; in D major, K.451, on fortepiano. Academy of Ancient Music, Christopher Hogwood (Decca/Oiseau Lyre 458 285-2)(1997) Mozart: Piano Concertos in E-flat major, K.271; in A major, K.414/385p, on fortepiano. Academy of Ancient Music, Christopher Hogwood (Oiseau Lyre 443 328-2)(1993) Mozart: Piano Concertos in F major, K.413/387a; in C major, K.415/387b; Concert Rondo in A major, K.386, on fortepiano. Academy of Ancient Music, Christopher Hogwood (Oiseau-Lyre 444 571-2)(1994) Mozart: Piano Concertos in B-flat major, K.450; in D major, K.537 ("Coronation"), on Mozart's own fortepiano. Academy of Ancient Music, Christopher Hogwood (Internationale Stiftung Mozarteum 448 388-2/ISM 97/11; Oiseau-Lyre 455 814-2)(1997) Mozart: Piano Concertos in G major, K.453; in D minor, K.466, on fortepiano. Academy of Ancient Music, Christopher Hog-wood (Oiseau-Lyre 455 607-2)(1996) Mozart: Piano Concerto in G major, K.453; New York Philomusica. (Philomusica NYPm10023-1-2)(1991) Mozart: Piano Concertos in B-flat major, K.456; in F major, K.459, on fortepiano. Academy of Ancient Music, Christopher Hogwood (Oiseau-Lyre 452 051-2)(1995) Mozart: Piano Concertos in E-flat major, K.482; in A major, K.488, on fortepiano. Academy of Ancient Music, Christopher Hog-wood (Oiseau-Lyre 452 052-2)(1996) Mozart: Concerto for 2 pianos in E-flat major (K.365/316a)(with Malcolm Bilson) and for 3 pianos in F major (K.242)(with Malcolm Bilson and Melvyn Tan), on fortepiano; English Baroque Soloists, John Eliot Gardiner (Archiv 427 317-2)(1987) Mozart: Piano Quartet in G minor, K.478, with members of the Spectrum Ensemble, Berlin (SFB)(1990) Mozart: Quintet in E-flat major for piano and winds, K.452; Beethoven: Quintet in E-flat major for piano and winds, Op. 16; Sonata in F major for piano and horn, Op. 17; with The Academy of Ancient Music Chamber Ensemble (Frank de Bruine, ob/Antony Pay, cl/Anthony Halstead, hn/Danny Bond/bn), on period instruments. Decca/London 455-994-2 (1995, 1996)(Diapason d'or, November 1998) Mozart: Rondo in A minor, K.511. (NRK)(1984) Mozart: Four-Hand Sonatas in F major (K.497) and D major (K.123a/381), with Malcolm Bil-son, on fortepiano. (Nonesuch N-78013)(1981) Mozart: Sonata for Fortepiano 4-hands in C major, K.521; Music for Two Fortepianos: Fugue in C minor, K.426; Larghetto and Allegro in E-flat major (fragment, completed by Robert D. Levin); Sonata in D major, K.448/ 375a, with Malcolm Frager, on the two Walter fortepianos in the Mozart-Museum, Salzburg (one of which was Mozart's personal instrument) (Internationale Stiftung Mozarteum, CD ISM 90/1, Mini-Disc MD-ISM 90/1)(1990) Mozart: Music for Two Fortepianos: Sonata in D major, K.375a/448, Fugue in C minor, K.426, and Larghetto and Allegro in E-flat major (fragment, completed by Robert D. Levin), with Malcolm Bilson. (Nonesuch 78023)(1983) Mozart: Trio for piano, clarinet and viola in E-flat major, K.498 ("Kegelstatt"), on fortepiano; with Charles Neidich and Jürgen Kussmaul. (SONY Classical SK 53366)(1992) Poulenc: Sonata for clarinet and piano, with Eduard Brunner. (Opus 7063-2)(1987) Poulenc: Sonata for Flute and Piano, with Paige Brook. (Mirror Image MIP-1005)(1983)(CD: Philomusica NYPm10023-2-2, 1992) Poulenc: Sonata for Piano, 4-hands, with Robert Levin, Norway.(NRK)(1984) Poulenc: Two Songs from »Fiançailles pour rire«, with Christine Whittlesey. (ECM New Series 1304/05 [LP: 827024-1; CD: 827024-2] Edition Lockenhaus)(1984) Reger: Six Waltzes for Piano, 4-hands, Op. 22, with Robert Levin, Norway.(NRK)(1984) Romances and Elegies by Britten, Carter, Glazunov, Kodály, Liszt, Vaughan-Williams, and Vieuxtemps, with Kim Kashkashian. (ECM 1316 [LP: 827 744-1; CD: 827 744-2])(1983) Rubinstein: Viola Sonata in f, with Kim Kashkashian (Saarländischer Rundfunk) (1981) Schoenberg: Ein Stelldichein. Members of the Lockenhaus Festival [Heinz Holliger, Eduard Brunner, Michael Schnitzler]. (Philips 411 062-1)(1982) Schubert: Music for Piano Four-Hands: 3 Marches militaires, D733/Op. 51; Sonata in C Major ("Grand Duo"), D812/Op. 140; Fantasy in F minor, D940/Op. 103; with Malcolm Bilson, on fortepiano. (DG Archiv 453 491-2) (1997) Schumann: Fantasiestücke, Op. 72; Märchenbilder, Op. 113; Märchen-erzählungen, Op. 132; with Eduard Brunner and Kim Kashkashian (ECM 1508)(1993) (Musik & Ästhetik&emdash;Interpretationspreis 1999) Schütz: Musikalische Exequien. Cantata Singers, Harbison, cond. (Advent) Shifrin: Three Songs (1949-1951); Five Songs (1979), with Christine Whittlesey. (CRI SD 504)(1984) Shifrin: Three Songs (1949-1951), with Christine Whittlesey. (NRK)(1984) Shostakovich: Sonata for Viola and Piano (1975), with Kim Kashkashian (ECM 1425 [LP], 847 538-2 [CD])(1990) Shostakovich: Four Waltzes for flute, clarinet and piano, with András Adorján and Eduard Brunner. (Tudor 727)(1989) Telemann: Suite in A minor for flute, strings and continuo, with Paige Brook. (Philomusica NYPm10023-2-2)(1992) Weber: Grand Duo Concertant for clarinet and piano in E-flat major, Op. 48, with Charles Neidich. (SONY Classical SK 64302)(1993) Wolpe: Seven Pieces for Three Pianos, with Eun-Ju Kim and James Avery. (Auvidis Montaigne/WDR MO 782048)(1992) Recordings of Bach Reconstructions Cantata 139: No. 2, "Gott ist mein Freund; was hilft das Toben": Cantatas 16, 98, 139. [Katharine Fuge, soprano; Derek Lee Ragin, countertenor;] Julian Podger, tenor; [Gotthold Schwarz, bass;] Monteverdi Choir, English Baroque Solists, John Eliot Gardiner (DG Archiv 463 586-2) Recordings of Mozart Completions Divertimento in C major, K.214 (Il Rè Pastore): New York Philomusica (Vox SVBX 5105/CDX 5050) Oboe Concerto in F major, K.293: (a) Goritzki, Rajski, Polish Chamber Philharmonic (Claves 50-9302); (b) Gomberg, Sasson, Newton Symphony (private recording) Symphonie concertante in E-flat major, K.297B: (a) Nicolet, Holliger, Baumann, Thunemann, Marriner, Academy of St. Martin's in the Fields (Philips 411 134-1/411 134-2) Record of the Month (Neue Zeitschrift für Musik), September 1984; Record of the Year (Diapason d'Or), Radio Luxemburg (Lis-teners' Plebi-scite), Grand Prix International du Disque (Académie Charles Cros), France (b) Rampal, Pierlot, Allard, Koster, Franz Liszt Chamber Orchestra of Budapest (CBS MK 44524) (c) Adorján, Dent, Schneider, Seidel, Tang, Bach-Collegium Munich (Obligat ob. 1.109) (d) Bruneel, van den Hauwe, Bergé, Noyen, Prima La Musica, Vermeulen (Eufoda 1234) (e) Gurtner, Fabretti, McDonald, Froelich, Haselböck, Wiener Akademie (Novalis 150 113-2) Concerto in D major for piano and violin, K.315f: Sender Freies Berlin (West Berlin) Sinfonia concertante in A major for violin, viola, 'cello and orchestra, K.320e/ Anh.104: Silverstein, Fine, Eskin; Sasson, Newton Symphony (private recording) Concert Rondo in E-flat for Horn and Orchestra, K.371: Koster, Tafelmusik, Weil (SONY Classical SK 53369); see also Horn Concerto in E-flat, K.370b+371 Horn Concerto in E-flat, K.370b+371: (a) Sommerville, CBC Vancouver Orchestra, Bernardi (CBC SMCD 5172) (b) Kelley, Orchestra of the Old Fairfield Academy, Crawford (MusicMasters 01612-67169-2) Horn Concerto No. 1 in D major, K.412/386b+514: (a) Koster, Tafelmusik, Weil (SONY Classical SK 53369) (b) Sommerville, CBC Vancouver Orchestra, Bernardi (CBC SMCD 5172) (c) Kelley, Orchestra of the Old Fairfield Academy, Crawford (MusicMasters 01612-67169-2) Clarinet Quintet in B-flat major, K.516f/Anh.91: (a) Brymer, Fidelio Quartet. Saga, reissued as Discourses ABK 16 (b) Hoeprich (basset clarinet), Stepner, Wilson, Miller, O'Sullivan, Centaur CRC 2561 (c) Lethier, Mozarteum String Quintet members (Lyrinx) (d) Zukovsky, Sequoia Quartet (Nonesuch 79105-1) Requiem in D minor, K.626: (a) Oelze, Danz, Weir, Schmidt, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling (Hänssler 98.979) (b) Ziesak, Maultsby, Croft, Arnold, Boston Baroque, Martin Pearlman (Telarc CD-80410) (c) Mariko, Chieko, Toshihide, Kenji, Matsuyama Bach Chorus and Orchestra, Hans-Michael Beuerle (Brain BOCD-9520) (d) Gauvin, Lemieux, Tessier, Berg, La Chapelle de Québec, Les Violons du Roy, Bernard Labadie (Dorian DOR 90310) Larghetto and Allegro in E-flat major (no Köchel no.): (a) Bilson, Levin (Nonesuch 78023) (b) Levin, Frager (Inter--nationale Stiftung Mozarteum CD ISM 90/1, Mini-Disc MD-ISM 90/1) (c) Duo Watanabe NB. The foregoing list includes only recordings known to me. (I am not normatively informed when my completions are recorded.) Recordings of cadenzas: My cadenzas for all of the Mozart violin concertos have been recorded by Gidon Kremer with Nikolaus Harnoncourt and the Vienna Philharmonic for Deutsche Grammophon. I cannot track the use of my cadenzas, as I am rarely informed of their use.
Television Productions 24 Hours Bach. Host and performer in a 90-minute documentary on the life and music of Johann Sebastian Bach, in two versions, English and German. EuroArts (2000), broadcast in Europe on Arte, in the United States on A & E Piano Grand! A celebration of the 300th anniversary of the invention of the piano. Participants include Billy Joel (host), Dave Brubeck, Cyrus Chestnut, Diana Krall, Katia and Marielle Labèque, Jerry Lee Lewis, Jean-Yves Thibaudet. Smithsonian Productions (2000), broadcast worldwide. Mozartwoche, Salzburg (Austria): Mozart Piano Concertos in D major, K. 175; in B-flat major, K. 450; in D major, K. 537 ("Coronation"); Rondo in D major, K. 382 (on Mozart's piano). The Academy of Ancient Music, Christopher Hogwood, conducting. Recorded in the Großer Saal of the Mozarteum, Salzburg. Unitel (1997) Awards, Prizes and other Recognition Honorary Doctorate, New England Conservatory of Music, 2001 Honorary Doctorate, Eastman School of Music (University of Rochester), 1996 Lili Boulanger Memorial Fund prize, 1966 and 1971 Copley Foundation grant, composition, 1961 Grammy award nominations, 1988, 1999 American Academy of Arts and Sciences (since 2000) American Keyboard Artists (since 1989) International Directory of Distinguished Leadership (since 7th edition) International Who's Who in Classical Music Leading Intellectuals of the World (since 1999) Men of Achievement (since 1992; International Man of the Year, 1992) The New Grove Dictionary of Music and Musicians The 100 Most Intriguing People of 2002 Who's Who in America (since 1990) Who's Who in Music (since 1988) Who's Who in Entertainment (since 1st ed.) Who's Who of Emerging Leaders in America (since 3rd ed.) Millenium Hall of Fame (since 1998) 500 Leaders of Influence (2001) 2000 Outstanding Musicians of the 20th Century 2000 Millenium Medal of Honor nominee
Teaching Experience a. Full time Professor of Music, Harvard University, 1993- (Dwight P. Robinson, Jr. Professor of the Humanities, 1994- ) Courses taught: Music 157y (20th century analysis), Music 180 (Performance/analysis of chamber music), Music 182 (17th/18th century performance practice), Music 183 (19th century performance practice), Literature and the Arts B-54 (Chamber music from Mozart to Ravel), Literature and the Arts B-80 (The Swing Era); private piano lessons Professor of Piano, Staatliche Hochschule für Musik, Freiburg im Breisgau, Germany, 1986-1993 Coördinator of Theory; Associate Professor of Music (1972-1975); Professor (1975-1986), Music Division, School of the Arts, SUNY College at Purchase, 1972-1986 Courses taught include: solfège, basic theory (elements of music), species counterpoint, tonal counterpoint, harmony, tonal theory 1-5, senior seminar in analysis, music of the Classic Period (Mozart and Haydn), sonata class, chamber music, piano repertoire class (a master class in piano). Guest lectures in various liberal arts courses. Conducted the Purchase Orchestra, 1984, 1985; soloist with Purchase Or-chestra 1979, 1985. Head of Theory Department, Curtis Institute of Music, Philadelphia, 1968-1973 Responsibilities: hiring of all theory faculty, designing curriculum. Courses taught included solfège, basic theory (elements of music), species counterpoint, harmony, tonal counterpoint, Medie-val/Renaissance music, the music of Mozart, keyboard accompaniment, analysis. b. Part time The Juilliard School, New York. Guest lectures, master classes, courses, 1997-1999, 2001. Steans Institute, Ravinia Festival, Chicago (USA), Summers 1991, 1989: private lessons in piano, chamber music; seminars with other faculty. The teaching at the Institute attempts a synthesis of instrumental, aesthetic, stylistic and dramaturgical concerns. Chamber Music and Piano Master Classes, Sarasota Music Festival (formerly Music Festival of Florida/New College Music Festival), Sarasota, Florida (USA), 1979- . The teaching responsi-bilities complement a full schedule of concerto and chamber music performances each year. Visiting professor, Graduate Institute in Musicology, Paris, Spring 1985 (eight seminars) Director in Residence, Conservatoire américain (Fontainebleau School of Music), Fontainebleau (France), 1979; faculty member, 1980-1983. Invited by Nadia Boulanger to direct the Conservatoire when she became too infirm to continue in that post. Courses taught: classes and private lessons in theory, composition, cham-ber music, and a special course in chamber music/analysis synthesizing structure and interpretation. In 1983 created a chamber music festival at Fontainebleau whose artist partici-pants came from six countries. Through the coachings of these active performers the students were exposed to a truly international learning experience. Chamber Music Coach, The Quartet Program, Troy, New York (USA), summers of 1975-1978 and 1982 (master class 1986), coaching string quartets from Haydn to the present. Additional coaching and teaching at the Kuhmo and Lockenhaus Festivals.
Master classes and guest lectures in leading universities, conservatories and festivals through-out North America, Europe, and in Japan and Australia. Papers read at conferences and musicological meetings in North America, Europe and Japan. Jury member of leading international piano competitions including Johann Sebastian Bach (Leipzig, Germany)(chair, 1998), Gina Bachauer (Salt Lake City, UT), International Cologne Piano Competition (Germany), William Kapell (College Park, MD). A complete listing is available on request. President, International Johann Sebastian Bach Competition, Leipzig, Germany, 2000- Travel Languages French (fluent) German (fluent) Italian (rudimentary)
Professional Organizations American Bach Society (Advisory Board) Emmanuel Music, Boston (Advisory Board) GEMA Internationale Stiftung Mozarteum Neue Bachgesellschaft Sarasota Music Festival (Advisory Board) Zentral-Institut für Mozartforschung
Academic and Musical Training a. Academic AB Harvard, 1968, magna cum laude with highest honors, music. Thesis, summa cum laude: The Unfinished Works of W. A. Mozart (cf. above) High School: Andrew Jackson High School (grade 12), 1963-1964 Junior year in Paris (see below), 1962-1963 Brooklyn Friends School (grades 9-10), 1960-1962 b. Musical Composition seminar with Leon Kirchner at Harvard, 1965-1968 Conducting, Académie Internationale d'Été, Nice, France, summers 1966 and 1967 (Hans Swarowsky, Karl Österreicher) Tanglewood conducting program (Eleazar de Carvalho), summer 1965 Conservatoire américain (Fontainebleau School of Music), Fontainebleau, France, summers 1960-1964: Nadia Boulanger, analysis, counterpoint, fugue, harmony, composition, organ Annette Dieudonné, solfège Alice Gaultier-Léon and Jean Casadesus, piano Master classes: Clifford Curzon, Robert Casadesus Academic year 1962-1963: Nadia Boulanger, private studies and classes as above Annette Dieudonné, solfège, Conservatoire National Supérieur, Première Médaille, premier nommé, 1963 Alice Gaultier-Léon, piano Academic year 1961-1962: Louis Martin, piano and solfège Suzanne Bloch, counterpoint Chatham Square Music School, 1957-1961: Seymour Bernstein and Louis Martin, solfège Jan Gorbaty, piano Stefan Wolpe, composition Private lessons in piano and solfège, 1952-1957 |
