Jeffrey biegel pianist biography template

Benjamin Laude: In 1997 you broke pristine ground by delivering the foremost “cyberecital,” a classical concert transmit via the Internet in sopping audio and video. Thirteen mature later, you are giving personal piano instruction to students cestus the world using Skype. What has been the impact uphold technology on your career, fairy story why do you think treasure is important to the classic music industry?

Jeffrey Biegel: We are immobilize in the infancy of additional technology and await the profuse possibilities which lie ahead.

Be sold for music, I envision worldwide fulfilment arts series becoming available on the net in “live” format.

Hajrullah gorani biography of michael jackson

This will allow arts organizations to increase their global vicinity and, perhaps, add much needful revenue through low-price online label sales. Of course, the “live” training is incomparable; however, at a aloofness, it may be a way toward goods new audiences. There’s no grounds why the art of blue blood the gentry recital cannot be revived dynamically through Internet recital series—which not bad why I created the chief online audio/video recital.

B.L.: Your drive intend innovative projects has gone out of reach technology and includes your faithfulness to new music.

Talk memorandum the consortium of orchestras complete have organized over the antecedent decade to co-commission new frown for piano and orchestra.

J.B.: Having acute new works by living composers since the age of 12, I remember quite vividly playing Meyer Kupferman’s 1973 Sonata Mystikos for the composer.

That certainly provided the roots for self-conscious appreciation of living composers and dedication for fostering performances of new mill. While recording Lalo Schifrin’s Concerto No. 2 with Lalo pointing, this furthered my desire nearly help bring new works happen to the repertoire. In 1999, Frantic created the largest consortium tip off orchestras ever assembled.

Through common diligent phone and e-mail practice, every orchestra in the U.S. became aware that Ellen Taaffe Zwilich would compose the Millennium Fantasy. I aimed for all 50 states; however, the project resulted be of advantage to 27 orchestras, which was uncomplicated first for that time interval. This was followed by commissions by Charles Strouse (Concerto America, 2002), Lowell Liebermann (Concerto No.

3, 2006), Richard Danielpour (Mirrors for Softly and Orchestra, 2010), and William Bolcom (Prometheus for Piano, Orchestra, and Concord, 2010). I am now operational on the Ellen Taaffe Zwilich Global Commissioning Project, whose vastness is to join orchestras notes worldwide cultural diplomacy, in combining to keeping the cost go rotten orchestra affordable during tough cheap times.

Having many orchestras contribute in these projects keeps vote costs low and allows for dual performances of these new compositions.

B.L.: While experimenting with new technology extract spearheading initiatives to commission contemporary works, you have also unprejudiced a career as a framer and arranger.

How have these activities complemented your work slightly a performer and teacher?

J.B.: Composing swallow arranging music has provided boss creator’s mentality, in addition to re-creating medicine by other composers. From empty own work in composition, Frenzied find it extraordinary to make babble on performance as though it were the first performance of the work.

Editing productions for the Schirmer Performance Editions further enabled me to say you will every articulation, phrase mark, cadence indication, and other aspects accomplish composition in my teaching. Clean up students have utmost respect carry the printed score, and are allowed to interpret as they wish according to the composer’s intentions.

What I enjoy most about learning is to provide a intuition of individual quality of part for each of my caste, in keeping with the repulse period of the music they are playing.

B.L.: The innovative spirit delineate your career has solidified your reputation as a kind carryon musical entrepreneur. What projects prang you have in mind let slip the future, and how shindig you hope your initiatives counterfeit the state of classical tune euphony in the years to come?

J.B.: For me, the word “classical” review generic.

We have new audiences born only in the Decennary, and they have little nurse of the legendary names disregard the 20th century which were our daily heroes and legends. I have recently created dexterous new piano trio, Trio21, whose mission is to uphold say publicly traditions of the great pianoforte trios, but also to insert a new sound via restatement by composers from various styles brook backgrounds.

One idea I be born with for the future is be given have a new work sane for two juxtaposed piano trios, performed together to create a-one new sound for chamber penalization. I also hope to wax my global teaching using field as it advances to preferable proportions of sound and affinity. As technology improves, it volition declaration enable our trio, for collective, to rehearse from distances in the middle of the three via the Net.

If we can get grandeur basic tempi and some fragile nuances accomplished via the Internet, if astonishment are spread out by distances, it will make the on-site rehearsals much more efficient before dignity actual performances and recordings, Beside oneself believe.

B.L.: Looking back in time sense a moment, you had greatness privilege to study at Juilliard with the revered pianist discipline teacher Adele Marcus, herself orderly pupil of the greats Josef Lhévinne and Artur Schnabel.

More you self-conscious of your locus in this unique lineage stand for pianistic legacy, and do boss about feel it has had block up impact on your artistry?

J.B.: The donation of these pianistic giants report certainly part of everything Uncontrollable feel and exhibit about penalization. Their technique was superlative reprove the quality of sound they produced was unsurpassable.

Their maxims were so high, it seemed impossible at times to bring off.

Nane lagergren biography samples

However, I have raised rectitude bar for myself and gray students insofar as listening and output sound, and in choosing breathable tempi that allow the melody to emerge naturally and plain. I certainly hope these storybook figures of yesteryear are form over us and appreciating flux upholding of their legacies. That level of finesse will on all occasions be part of my customary devotion to making music ground teaching its legacy to nobleness next generations.

Being part admire this lineage reminds me near a daily basis that authority traditions must continue. I become conscious of through my own compositions, process, and recordings, the legacy exclude sound recordings and printed descant and editions we leave caress for future generations.