ROBERT D. LEVIN

Curriculum Vitae

Date of birth: October 13, 1947
Address: 11 Remington Street, Cambridge MA 02138  USA
Telephone: +1/617-491-8280, Fax +1/617-492-5250
E-mail rlevin@fas.harvard.edu

     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, forte­piano, harpsichord): Berlin, Los Angeles, Vienna Philharmonics, Atlanta, Baltimore, Boston, Chicago, Melbourne, Montreal, St. Louis 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).  Renowned for Mozart and Beet­hoven per­formances incorporating 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
Beethoven:  Complete piano concertos; Rondo WoO 6; Choral Fantasy, Op. 80; Triple Concerto, Op. 56
Brahms:  Piano Concerto No. 1, Op. 15
Franck:  Variations symphoniques
Harbison:  Piano concerto
Mendelssohn:  Piano Concertos in A minor; No.1, Op. 25; No. 2, Op. 40; Capriccio brilliant; Concertos for 2 pianos
Mozart:  Complete piano concertos and rondos
Poulenc: Concerto for 2 Pianos
Schumann:  Complete works for piano and orchestra
Stravinsky:  Concerto for Piano and Winds
Wyner: Piano Concerto (Chiavi in mano), dedicated to RL

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 Brüggen
George Cleve
James Conlon
Thomas Dausgaard
Claus Peter Flor
Sir John Eliot Gardiner
David Gilbert
Bernard Haitink
John Harbison
Daniel Harding
Thomas Hengelbrock
Christopher Hogwood
Carlos Kalmár
Louis Langrée
Zdenek Macal
Sir Charles Mackerras Nicholas McGegan
Roger Nierenberg
Sir Roger Norrington
Seiji Ozawa
Evelino Pidò
Sir Simon Rattle
Helmuth Rilling
Donald Runnicles
Joseph Silverstein
Robert Spano
Michael Stern
Mario Venzago
Paul Wolfe
Hugh Wolff
David Zinman


b. Solo recitals in the United States, Europe and Asia on piano, fortepiano, and harpsichord.  Again there are no practical repertoire limits with a little advance warning.  A representative repertoire selection includes works by:


Alkan
Bach, C. Ph. E.
Bach, J. S.
Bartók
Beethoven
Berio
Dussek
Dutilleux
Fauré
Franck
Gershwin
Grieg
Harbison
Haydn
Hindemith
Kurtág
Lee
Mendelssohn
Messiaen
Moscheles
Mozart
Poulenc
Rameau
Ravel
Schoenberg
Schubert
Schumann
Stravinsky
Walden
Webern
Wyner


c. Free-lance chamber music artist in Europe and the United States with such colleagues as:


Samuel Baron (†)
Vera Beths
Hatto Beyerle
Malcolm Bilson
Alvin Brehm
Eduard Brunner
James Buswell
Anner Bylsma
Ya-Fei Chuang
James Dunham
Doriot Anthony Dwyer
Timothy Eddy
Jan de Gaetani (†)
David Geringas
Irena Grafenauer
John Graham
Clive Greensmith
Rose Mary Harbison
Christoph Henkel
Heinz Holliger
Steven Isserlis
Ko Iwasaki
David Jolley
Jeffrey Kahane
Kim Kashkashian
Ani Kavafian
David Krakauer
Gidon Kremer
Jürgen Kussmaul
Rainer Kussmaul
Ronald Leonard
Donald MacCourt
Charles Neidich
Régis Pasquier
Boris Pergamenschikow (†)
Gérard Poulet
William Preucil
William Purvis
Ronald Roseman (†)
András Schiff
Ernö Sebestyén
Joseph Silverstein
Roswitha Staege
Daniel Stepner
Klaus Thunemann
Milan Turkovi?
Radovan Vlatkovi?
Barbara Westphal


                  d. Long-standing duo partnerships with pianist Ya-Fei Chuang and violist Kim Kashkashian.
Participant in international music festivals:  Oregon Bach Festival, Ravinia, Sarasota, Tangle­wood (USA); Mozartwoche Salzburg (Austria), Lockenhaus (Austria); Sofia (Bulgaria); Kuhmo (Finland); European Music Festival (Stuttgart, Germany).
                  Pianist, Ensemble Sequenza (Germany), 1984-1991
                  Pianist, New York Philomusica, 1971-2006
                  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 record­ings mentioned below.

Premières of many works including Brehm:  Sextet (1976), Tre Canzone (1980); Denissov, »Paysage au Clair de Lune« (1985); Fineberg, Veils (2001); Hamilton:  “Hy­per­i­on” (1977); Harbison:  Trio (1969), Die Kürze (1970), “Bermuda Triangle” (1971), Due Libri dei Motetti di Montale (1992)(conductor, celesta), Piano Sonata No. 2 (2003); Lee: 29 Fireflies, Book III (2001), Piano Concerto (2007); Rands: Preludes for piano (2007); Shifrin:  Duo for Violin and Piano (1970); Five Songs (1979); Walden: Maquettes for 2 pianos, with Ya-Fei Chuang (2003), Slow Dragfor 2 pianos, with Ya-Fei Chuang (2008); Wyner, Piano Concerto Chiavi in mano (2005)(commissioned by Boston Symphony Orchestra for and dedicated to RL)(Pulitzer Prize 2006)

Commissioner and/or dedicatee of the following works:  Joshua Fineberg, Veils (with Thomas Forrest Kelly)(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 (2001), Piano Concerto “Mozartiana” (2007); Bernard Rands: Preludes for piano (2006-2007); Stanley Walden, Maquettes for Two Pianos (2003) and Slow Drag (2007) (both with Ya-Fei Chuang), Wyner, Piano Concerto Chiavi in mano (2004) and numerous shorter pieces


     Compositions, Compositional Work

        a. Original compositions include:
two sonatas for clarinet and piano (1961; 1967-1968)
2 Short Piano Pieces (1966-1967)
Bassoon Sonata (1965-1966)
Woodwind Quintet (1965)
Piano Quartet (1964-1965)
Piano Sonata (1962)


        b. Bach reconstructions. Restoration of missing solo intrumental lines to the fol-


lowing 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); adapted as finale of Harpsichord Concerto in D minor, BWV 1052, third movement, to be performed with first movement derived from Cantata 146, for Peter Serkin (premiere, Pittsburgh Symphony Orchestra, November 2001)



        c. Mozart completions.  The two dates following each work refer to the date of


Mozart's fragment and the date of the completion, respectively.  Works below marked with an asterisk (*) are part of my Harvard thesis, The Unfinished Works of W. A. Mozart.

Prelude in G major (no K. no.): reconstruction of missing second half (2010)
Molto allegro in G major (first movement of a keyboard concerto) (no K. no.): reconstruction of the missing orchestral accompaniment (1763-64; 2009)
Divertimento in C major, K.214 (Il Rè Pastore)(= K.214-208-213c/102) (1775; 1973)
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)
Mass in C minor, K. 427/417a (1783; 2003-2004, commissioned by Carnegie Hall and premiered there on January 15, 2005)
Sonata in G major for piano four-hands, K.497a/357, i (1788; 1992), 500a/357, ii (1788; 2005)
Rondo in A major for clarinet and strings, K. 581a (1790; 2009)
*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, commissioned by Internationale Bach-Akademie Stuttgart and premiered in Stuttgart on August 24, 1991)
These have been recorded and performed throughout the world.



        d. Cadenzas, lead-ins (Eingänge), and embellishments to the following works:
J. S. Bach:  Concerto for Flute, Violin­ and Harpsichord in A minor, BWV 1044
Beethoven:  Violin Concerto in D major, Op. 61
František 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 No. 1 in D major

These have been recorded and performed throughout the world.

     Publications

Works marked with an asterisk (*) constitute excerpts from The Unfinished Works of W. A. Mozart—the Harvard thesis cited earlier.  All cadenzas and lead-ins except those for the Concerto for Flute and Harp, K. 299/297c include at least two separate versions with multiple combinatorial possibilities.


        a. Music


Beethoven:  Violinkonzert D-dur, Opus 61.  Klavierauszug.  Heraus­gegeben von Shin Augustinus Kojima.  Vorwort von Ernst Erttrich.  Klavierauszug von Jürgen Sommer.  Kadenzen und Eingänge von Robert D. Levin.  Fingersatz und Strichbezeichnung der Violine von Wolfgang Schneiderhan.  München 2003: G. Henle Verlag 326
Haydn: Sämtliche Klaviersonaten, Band 1. Nach den Quellen herausgegeben von Christa Landon, revidiert von Ulrich Leisinger.  Hinweise zur Interpretation, Kadenzen un Auszierungen von Robert D. Levin.  Fingersätze von Oswald Jonas.  (The Complete Piano Sonatas, Volume 1.  Edited from the sources by Christa Landon, revised by Ulrich Leisinger. Notes on Interpretation, Cadenzas and Embellishments by Robert D. Levin. Fingering by Oswald Jonas.)  Vienna 2008: Wiener Urtext Edition, Schott/Universal Edition UT 50256
Haydn: Sämtliche Klaviersonaten, Band 2. Nach den Quellen herausgegeben von Christa Landon, revidiert von Ulrich Leisinger.  Hinweise zur Interpretation, Kadenzen un Auszierungen von Robert D. Levin.  Fingersätze von Oswald Jonas.  (The Complete Piano Sonatas, Volume 2.  Edited from the sources by Christa Landon, revised by Ulrich Leisinger. Notes on Interpretation, Cadenzas and Embellishments by Robert D. Levin. Fingering by Oswald Jonas.)  Vienna 2009: Wiener Urtext Edition, Schott/Universal Edition UT 50257
Haydn: Sämtliche Klaviersonaten, Band 4. Nach den Quellen herausgegeben von Christa Landon, revidiert von Ulrich Leisinger.  Hinweise zur Interpretation, Kadenzen un Auszierungen von Robert D. Levin.  Fingersätze von Oswald Jonas.  (The Complete Piano Sonatas, Volume 4.  Edited from the sources by Christa Landon, revised by Ulrich Leisinger. Notes on Interpretation, Cadenzas and Embellishments by Robert D. Levin. Fingering by Oswald Jonas.)  Vienna 2010: Wiener Urtext Edition, Schott/Universal Edition UT 50259
Hoffmeister:  Violakonzert D-dur.  Klavierauszug.  Heraus­gegeben von Norbert Gertsch, Julia Ronge.  Klavierauszug von Johannes Umbreit.  Kadenzen und Eingänge von Robert D. Levin.  Fingersatz und Strichbezeichnung von Kim Kashkashian.  München 2003: G. Henle Verlag 739
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 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: Klaviersonaten, Band 1. Nach den Quellen herausgegeben von Ulrich Leisinger. Fingersätze von Heinz Scholz/Hinweise zur Interpretation von Robert D. Levin.  Neuausgabe. (Piano Sonatas, Volume 2. Edited from the sources by Ulrich Leisinger. Fingering by Heinz Scholz/Notes on interpre­tation by Robert D. Levin. New Edition.) Vienna 2004: Wiener Urtext Edition, Schott/Universal Edition UT 50226
Mozart: Klaviersonaten, Band 2. Nach den Quellen herausgegeben von Ulrich Leisinger. Fingersätze von Heinz Scholz/Hinweise zur Interpretation von Robert D. Levin.  Neuausgabe. (Piano Sonatas, Volume 2. Edited from the sources by Ulrich Leisinger. Fingering by Heinz Scholz/Notes on interpre­tation by Robert D. Levin. New Edition.) Vienna 2003: Wiener Urtext Edition, Schott/Universal Edition UT 50227
Mozart:  Klavierstücke.  Band 1: Frühere Werke.   Nach den Quellen herausgegeben und mit Fingersätzen versehen von Ulrich Leisinger.  Ergänzungen fragmentarischer Sätze und Ausführungsvorschläge zu KV 15g von Robert D. Levin.  Neuausgabe.  (Vol. 1: Earlier works.  Edited from the sources and provided with fingerings by Ulrich Leisinger.  Completions to fragmentary movements and suggestions for the execution of K. 15g by Robert D. Levin.  New Edition.)  Vienna 2006:  Wiener Urtext Edition, Schott/Universal-Edition UT 50229.  Contains completions by the author of the following pieces:  K. 9b, 15rr, piano piece in E-flat w/o K. number, piano piece listed with K. 42, K. 72a, K. 135a/3, K. 269b/3.
Mozart:  Werke für Klavier zu vier Händen.  Nach den Quellen herausgegeben von Ulrich Leisinger.  Fingersätze von Bruno Seidlhofer.  Ergänzungen zu Allegro und Andante (Sonate) KV 357, Eingänge und Hinweise zur Interpretation von Robert D. Levin.  Neuausgabe.  (Works for Piano 4 Hands.  Edited from the sources by Ulrich Leisinger. Fingering by Bruno Seidlhofer.  Completions to Allegro and Andante (Sonata) K. 357, Lead-ins and Notes on Interpretation by Robert D. Levin.  Vienna 2005: Wiener Urtext Edition, Schott/Universal Edition UT 50219
Mozart: Fagottkonzert B-dur KV 191.  Klavierauszug.  Heraus­gegeben von Ernst Herttrich.  Klavierauszug von Siegfried Petrenz.  Kadenzen und Übergänge von Robert D. Levin.  München/Wiesbaden 2006: G. Henle Verlag/ Breitkopf & Härtel HN 801 · EB 10801
Mozart: Konzert für Klavier und Orchester („Jeunehomme“)(recte: „Jenamy“) Es-dur KV 271 / Con­certo for Piano and Orchestra (“Jeunehomme”)(recte: “Jenamy”) 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: Konzert für Flöte, Harfe und Orchester C-dur KV 299.  Klavierauszug.  Heraus­gegeben von András Adorján.  Klavierauszug von Jan Philip Schulze.  Kadenzen von Robert D. Levin.  München 2004: G. Henle Verlag 768
Mozart:  Sinfonia concertante in E-flat major for flute, oboe, horn, bassoon and orchestra, KV Anh. I/9 (297b)[recte:  297B].  Recon­struc­tion by Robert Levin (based on the Sinfonia con­cer­tante in E-flat major for oboe, clar­i­net, horn, bassoon and orchestra K.297b/Anh. C14.01).  Kassel etc.:  Bären­reiter-Verlag:  score and parts 1983, BA 7137; piano reduction by Michael Töpel 1991, BA 7137a
Mozart: Flötenkonzert G-dur KV 313.  Klavierauszug.  Heraus­gegeben 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.  Heraus­gegeben 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.  Heraus­gegeben 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:  Konzert für Horn und Orchester Es-dur KV 370b+371 / Con­certo for Horn and Orchestra in E flat major K. 370b+371. Ergänzt und herausgegeben von / completed and edited by Robert D. Levin. Wiesbaden · Leipzig · Paris 2003: Breitkopf & Härtel (orchestral score: PB 5357; 2-piano score EB 8697)
Mozart: Missa in c, KV 427, ergänzt und herausgegeben von/completed and edited by Robert D. Levin.  Stuttgarter Mozart-Ausgaben.  Stuttgart 2005: Carus-Verlag 2005 (orchestral score, 51.427, piano reduction 51.427/03, study score 51.427/07, 13 wind parts 51.427/09, string parts 51.427/11-14, organ part 51.427/49)
Mozart:  Hornkonzert Nr. 3 Es-dur, KV 447.  Klavierauszug.  Heraus­gegeben 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.  Heraus­gegeben 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).  Superseded by the following publication:
Mozart:  Requiem, KV 626 per Soli (SATB), Coro (SATB), 2 Corni di bassetto, 2 Clarinetti, 2 Fagotti, 2 Violini, Viola e Basso continuo (Violoncello/Con­trabbasso, Organo), ergänzt und herausgegeben von Robert D. Levin.  Stuttgart 1996/2004: Carus-Verlag 61.626/50 (includes *Amen fugue)
Stamitz:  Violakonzert Nr. 1 D-dur.  Klavierauszug.  Heraus­gegeben von Norbert Gertsch, Annemarie Weibezahn.  Klavierauszug von Johannes Umbreit.  Kadenzen und Eingänge von Robert D. Levin.  Fingersatz und Strichbezeichnung von Jürgen Weber.  München 2003: G. Henle Verlag 758
        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


“Wolfgang Amadé Mozarts Menuett für Klavier D-Dur KV 355“, „ihr wahrer freund und diner“.  Liber amicorum.  Wolfgang Rehm zum 80. Geburtstag, 151-160.
“Mozart’s Remakes”, Coll’astuzia, col giudizio.  Essays in Honor of Neal Zaslaw.  Edited by Cliff Eisen.  Ann Arbor 2009: Steglein Publishing, Inc., 256-267.
“Improvising Mozart”, Musical Improvisation.  Art, Education and Society. Edited by Gabriel Solis and Bruno Nettl.  Urbana and Chicago 2009: University of Illinois Press, 143-149.
“Mozart’s Working Methods in the Keyboard Concertos”, The Century of Bach and Mozart.  Perspectives on Historiography, Composition, Theory and Performance.  In Honor of Christoph Wolff, ed. Sean Gallagher, Thomas Forrest Kelly.  Isham Library Papers 7, Harvard Publications in Music 22.  Harvard University Department of Music.  Cambridge 2008: Harvard University Press, 379-406.
“[Improvisation:] Interview with Robert Levin” [conducted by Frances-Marie Uitti], Contemporary Music Review, Vol. 25, Nos. 5/6, October/December 2006, 509-512.
“A New Completion of Mozart’s Mass in C Minor, K. 427/417a,” Mozart-Jahrbuch 2005, 239-244.
“Practica interpretativ? a muzicii lui Mozart” (translated from English to Romanian by Pavel Pu?ca?), Studii Mozartiene II.  Omagin lui Robert Levin, Societatea Român? Mozart, Academia de Muzic? „Gheorghe Dima” Cluj-Napoca [n.d.]. This collection of essays, in my honor, includes an analysis and transcription of an improvised fantasy in the style of Mozart based on themes submitted by the audience that I performed in 1994 and an analytical essay of its content by István Németh G, who won a prize offered by the Romanian Mozart Society for the best transcription of the fantasy.
“Mozart and the Keyboard Culture of His Time.” (edited version of the keynote address at an eponymous conference at Cornell University, March 2003), Min-Ad: Israel Studies in Musicology Online, 2004. – Vol. 3 http://www.biu.ac.il/hu/mu/min-ad04/LevinMOZART.pdf
“Mozart’s non-metrical keyboard preludes”, Chapter 12, The Keyboard in Baroque Europe, ed. Christopher Hogwood. Cambridge 2003: Cambridge University Press (Musical Performance and Reception), 198-216.
“Performance practice in the music of Mozart”, The Cambridge Companion to Mozart, ed. Simon P. Keefe. Cambridge 2003: Cambridge University Press, 227-245.
“Performing Mozart’s Keyboard Music”, Mozart Society of America Newsletter, Vol. VI, No. 2 (27 August 2002), 1, 4-6.
“Musik aus den Ärmeln geschüttelt – 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)
“Improvisation, §II, 4.The Classical Period. (i) Instrumental music.” The New Grove Dictionary of Music and Musicians, second edition.  Vol. 12, 112-117.
“K. 488: Mozart’s Third Concerto for Barbara Ployer?” in: Mozartiana. The Festschrift for the Seventieth Birthday of Professor Ebisawa Bin. 2001.
555-570; Japanese translation, 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.
“La ornamentación improvisada en la música para tecla de Mozart,” Quodlibet 18 (October 2000).
“Mozart’s Deliberate Use of Incorrect Key Signatures for Clarinets.”  Co-authored with Daniel N. Leeson.  Mozart-Jahrbuch 1998, 139-152.
“The Devil’s in the Details: Neglected Aspects of Mozart’s Piano Concertos,” in: Mozart’s Piano Concertos.  Text, Context, Interpretation (edited by Neal Zaslaw). Ann Arbor 1996, 29-50.
“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.  Second edition: New York and London 2003: Routledge.
“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.)
“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—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 Rekonstruk­tionen 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 Orches­tra.”  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 Klarinetten­


quintett B-Dur KV Anh. 91/516c: Ein Ergänzungs­versuch.”  Mozart-Jahrbuch 1968/70, 304-326.  (Title in German.  Paper in English.)

        d. Program and Liner Notes

Program notes have appeared in at Symphony Hall and Jordan Hall (Boston), Alice Tully Hall and Merkin Concert Hall (New York), John F. Kennedy Center (Wash­ington D.C.), Hollywood Bowl (Los Angeles, California), Salzburg Festspielhaus and Mozartwoche (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)
Dutilleux: Complete Piano Music (ECM)
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 (None­such)
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, Linn)
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


Manfred Hermann Schmid,Orchester und Solist in den Konzerten von W. A. Mozart.  Tutzing, Schneider 1999 (Mozart Studien 9).  Ad Parnassum 5/10 (October 2007), 143-152.

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 pub­lished 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.
Asturiana:  Songs from Spain and Argentina, with Kim Kashkashian, viola.  ECM New Series 1975 476 6149 (2006)
Auric:  Imaginées III, for clarinet and piano, with Eduard Brunner.  (Opus 7063-2)(1987)


J. S. Bach:  Aria variata alla maniera italiana, BWV 989.  (Live recording, 7/27/2006) Edition Klavier-Festival Ruhr
J. S. Bach:  Cantatas 7, 44, 101 (organ continuo).  Cantata Singers, Harbison, cond. (Advent RD 1015)(1973)
J. S. 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)
J. S. 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)
J. S. 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)
J. S. 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)
J. S. Bach:  English Suites, BWV 806-811, on piano.  Hänssler 92.113 (2)(Edition Bachakademie, Vol. 113)(1999)
J. S. 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)
J. S. Bach:  The Well-Tempered Clavier, Book II, on one- and two-manual harpsichord, clavichord, organ, and fortepiano.  Hänssler 92.117 (2)(Edition Bach­akade­mie, 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)
Dutilleux: D’ombre et de silence [Complete piano music], with Ya-Fei Chuang (2nd piano in Figures de résonances). (ECM 2105 [476 3653])(2008)
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: Between Two Worlds (1991), with Margorie Elinor Dix (soprano), Rhonda rider and Karl Lavine (‘cellos) and Judith Gordon, piano.  (Live recording, 9/2/2001) Token Creek Recordings TCR 114
Harbison:  Fantasy Duo (1988), with Rose Mary Harbison.  (Archetype 60104)(1994)
Harbison:  Piano Sonata No. 2.  (Live recording, 8/29/2004)  Token Creek Recordings TCR 112
Harbison:  Piano Sonata No. 2.  (Live recording, 7/27/2006)  Edition Klavier-Festival Ruhr Vol. 14 553067
Haydn: Piano Trio in D minor, Hob. XV:23, with Rose Mary Harbison and Rhonda Rider. (Live recording, 9/2/2001) Token Creek Recordings TCR 114
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—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: Capriccio brilliant, Op. 22; Concerto for 2 Pianos in A-flat, with Ya-Fei Chuang.  Bochum Symphony Orchestra, Steven Sloane (Edition Klavier-Festival Ruhr, Vol. 23 (8553186)(2009)
Mendelssohn:  Two Characteristic Pieces from Op. 7.  (NRK)(1984)
Mendelssohn:  Variations sérieuses, Op. 54. (Live recording, 7/27/2006) Edition Klavier-Festival Ruhr Vol. 14 553067
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 Pergamen­schikow (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 Hog­wood (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 Hog­wood (Oiseau-Lyre 452 052-2)(1996)
Mozart: Piano Concerto in A major, K.488; with finale of Piano Concerto in B-flat, K.450.  New York Philomusica.  (Philomusica NYPm30016)(1994, issued 2004)
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: Sonatas in C major, K. 279, F major, K. 280, B-flat major, K. 281, on fortepiano (with explanatory DVD).  Deutsche Harmonia Mundi 82876-842362-2
Mozart:  Four-Hand Sonatas in F major (K.497) and D major (K.123a/381), with Malcolm Bil­son, 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; Märchen­erzäh­lungen, Op. 132; with Eduard Brunner and Kim Kashkashian (ECM 1508)(1993) (Musik & Ästhetik—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)
Stravinsky:  Sonata for Two Pianos, with Judith Gordon.  (Live recording 9/2/2001) Token Creek Recordings TCR 114
Walden:  Maquettes for two pianos (2001)(with Ya-Fei Chuang), Five Similes for piano (1989).  Naxos 8.559355 (2008)
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)
Wyner: Piano Concerto, Chiavi in mano (2005).  Boston Symphony Orchestra, Robert Spano (live recording).  (Bridge 9282)(Grammy award nomination, 2010)(2005)
Mozart Lectures.  Live recording of two lectures given at the Klavier-Festival Ruhr (Philharmonie, Essen, Germany) on July 25 and 26 2006. Edition Klavier-Festival Ruhr 553057 LC 15080


     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 (Lis­teners' Plebi­scite), Grand Prix International du Disque (Académie Charles Cros), France
(b) Rampal, Pierlot, Koster, Allard, 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)
(f) Hasse, Unterer, Schwaiger, Wimmer, Soudant, Mozarteum Orchestra (Oehms OC 349)
(g) Kaiser, Brüggemann, Wieringa, Zafra, von der Goltz, Freiburg Baroque Orchestra (Harmonia Mundi HMC 901897)
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:

  1. Koster, Tafelmusik, Weil (SONY Classical SK 53369)
  2. Sommerville, CBC Vancouver Orchestra, Bernardi (CBC SMCD 5172)
  3. Kelley, Orchestra of the Old Fairfield Academy, Crawford (MusicMasters 01612-67169-2)

Mass in C Minor, K. 427/417a.  Damrau, Banse, Odinius, Marquardt, Gänchinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Helmuth Rilling (Hänssler Classic 098227000)(2005)
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)
(e) Leister, Berlin Philharmonia Quartet (Camerata 331)
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)
(e) Gritton, Wyn-Rogers, Robinson, Rose, Scottish Chamber Chorus and Orchestra, Sir Charles Mackerras (Linn CKD 211)
(f) Benner Storlie, Kovago, Moviligne, Kallemeyr, Exultate Festival Choir and Orchestra, Thomas D. Rossin (Exultate Ex-103)
(g) Brewer, Donose, Tessier, Owens, Atlanta Sym­phony Orchestra and Chamber Chorus conducted by Donald Runnicles (Telarc 80636)
(h) Kleiter, Romberger, Sans, Merten, Bachchor Mainz, L’arpa festante München, Ralf Otto (NCA 60159-215)
Larghetto and Allegro in E-flat major (no Köchel no.):

  1. Bilson, Levin (Nonesuch 78023)
  2. Levin, Frager (Inter­­nationale Stiftung Mozarteum CD ISM 90/1, Mini-Disc MD-ISM 90/1)
  3. Duo Yoshio Watanabe (Japan)

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 not 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, Curtis Institute of Music, 2009
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)
American Medal of Honor (2004)
Asian/American Who’s Who (Vol. IV)
Die Musik in Geschichte und Gegenwart (2nd ed.)
Great Minds of the 21st Century
International Directory of Distinguished Leadership (since 7th ed.)
International Directory of Distinguished Leadership HALL OF FAME (since 11th ed.)
International Directory of Experienced Expertise
International Profiles of Accomplished Leaders
International Who’s Who in Classical Music
International Peace Prize nomination, 2003
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 (2nd ed.)
The 100 Most Intriguing People of 2002
Who's Who in America (since 1990)
Who's Who in Entertainment (since 1st ed.)
Who's Who in Fine Arts Higher Education (since 2003)
Who's Who in Music (since 1988)
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-    ); Head Tutor, 1998-2003, 2004


Courses taught:  Music 157y (20th century analysis), Music 180 (Performance/analysis of chamber music), Music 182 (17th/18th century performance practice), Music 183 (19th/20th century performance practice), Literature and the Arts B-52 (Mozart), Literature and the Arts B-54 (Chamber music from Mozart to Ravel), Literature and the Arts B-80 (The Swing Era); private piano lessons and tutorials
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 Or­chestra 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, Medie­val/Renais­sance music, the music of Mozart, keyboard accompaniment, analysis.


b. Part time


Academia pianistica, Imola, Italy (2009)
Internationale Sommerakademie Mozarteum, Salzburg, Austria.  Master classes in piano 2004-05, 2007-
The Juilliard School, New York.  Guest lectures, master classes, courses, 1997-1999, 2001, 2007, 2009.


Steans Institute, Ravinia Festival, Chicago (USA), Summers 1991, 1989, 2006:  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.


Sarasota Music Festival (formerly Music Festival of Florida/New College Music Festival), Sarasota, Florida (USA), 1979-    ; Associate Artistic Director, 2005-2006; Artistic Director, 2007-    .  Coaching, master classes and public lectures complement concerto appearances and chamber music performances with fellow artist faculty.  Responsible for hiring of faculty and programming.
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, cham­ber music, and a special course in chamber music/analysis synthe­sizing structure and interpretation.  In 1983 created a chamber music festival at Fontainebleau whose artist partici­pants 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, Lockenhaus and European Music Festivals.


     Master Classes, Lectures, Papers, Conferences, Competitions, and Festivals


Master classes and guest lectures in leading universities, conservatories and festivals through­out North America, Europe, and in Japan, South Korea, Taiwan and Australia.
Papers read at conferences and musicological meetings in North America, Europe, Japan, New Zealand and Taiwan.
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), Leeds (UK), Dublin, Hamamatsu, Arthur Rubinstein (Tel-Aviv).  A complete listing is available on request.
President, International Johann Sebastian Bach Competition, Leipzig, Germany, 2000-
Associate Artistic Director, Sarasota Music Festival (2005-2006); Director, 2007-


     Foreign Appearances

Argentina, Australia, Austria, Belgium, Bulgaria, Canada, Croatia, Denmark, Finland, France, Germany, Greece, Ire­land, Israel, Italy, Japan, S. Korea, Liech­ten­stein, Malaysia, Netherlands, New Zealand, Norway, Poland, Romania, Slovakia, Slovenia, Spain, Sweden, Switzerland, Taiwan, United Kingdom


     Languages

French (fluent)
German (fluent)
Italian (rudimentary)


     Professional Organizations

Akademie für Mozartforschung, Salzburg, Austria
American Bach Society (advisory board)
American Musicological Society
Emmanuel Music, Boston (advisory board)
GEMA
Internationale Stiftung Mozarteum
, Salzburg, Austria
Lili Boulanger Memorial Fund (board member)
Mozart Society of America
Musik und Ästhetik (editorial board)
Neue Bachgesellschaft
, Leipzig, Germany


     Academic and Musical Training

        a. Academic                                   


                             AB Harvard, 1968, magna cum laude with highest honors, music. Thesis, summa cum laudeThe 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