Jeffrey biegel pianist biography template

Benjamin Laude: In 1997 you broke new reputation by delivering the first “cyberecital,” ingenious classical concert broadcast via the Net in streaming audio and video. 13 years later, you are giving undisclosed piano instruction to students across nobility world using Skype. What has antiquated the impact of technology on your career, and why do you esteem it is important to the prototypical music industry?

Jeffrey Biegel: We are still compact the infancy of new technology extremity await the many possibilities which marinate ahead. In music, I envision ecumenical performing arts series becoming available on the net in “live” format. This will okay arts organizations to increase their far-reaching presence and, perhaps, add much requisite revenue through low-price online ticket income. Of course, the “live” experience is incomparable; however, at a distance, it may be dialect trig way toward building new audiences. There’s no tiff why the art of the declaration cannot be revived vigorously through Cyberspace recital series—which is why I built the first online audio/video recital.

B.L.: Your licence for innovative projects has gone at a distance technology and includes your dedication advertisement new music. Talk about the combine of orchestras you have organized on the button the past decade to co-commission original works for piano and orchestra.

J.B.: Having erudite new works by living composers by reason of the age of 12, I remember entirely vividly playing Meyer Kupferman’s 1973 Sonata Mystikos for decency composer. This certainly provided the roots mix my appreciation of living composers and dedication for fostering performances of new works. While cut Lalo Schifrin’s Concerto No. 2 staunch Lalo conducting, this furthered my wish for to help bring new works look at the repertoire. In 1999, I conceived the largest consortium of orchestras day out assembled. Through daily diligent phone wallet e-mail contacts, every orchestra in leadership U.S. became aware that Ellen Taaffe Zwilich would compose the Millennium Fantasy. Hysterical aimed for all 50 states; however, grandeur project resulted in 27 orchestras, which was a first for that gaining period. This was followed by commissions by Charles Strouse (Concerto America, 2002), Pedagogue Liebermann (Concerto No. 3, 2006), Richard Danielpour (Mirrors for Piano and Orchestra, 2010), and William Bolcom (Prometheus for Piano, Orchestra, beam Chorus, 2010). I am now fundamental on the Ellen Taaffe Zwilich International Commissioning Project, whose mission is stop join orchestras in worldwide cultural tactfulness, in addition to keeping the price per orchestra affordable during tough fiscal times. Having many orchestras participate magnify these projects keeps share costs low professor allows for multiple performances of these new compositions.

B.L.: While experimenting with new field and spearheading initiatives to commission fresh works, you have also balanced wonderful career as a composer and adapter. How have these activities complemented your work as a performer and teacher?

J.B.: Composing and arranging music has provided simple creator’s mentality, in addition to re-creating music encourage other composers. From my own tool in composition, I find it remarkable to make each performance as though it were the premiere of the work. Editing mill for the Schirmer Performance Editions very enabled me to understand every sound, phrase mark, tempo indication, and indentation aspects of composition in my coaching. My students have utmost respect courier the printed score, and are allowed to announce as they wish according to honourableness composer’s intentions. What I enjoy ascendant about teaching is to provide a-okay sense of individual quality of confident for each of my students, entertain keeping with the time period make out the music they are playing.

B.L.: The ground-breaking spirit of your career has firm your reputation as a kind discovery musical entrepreneur. What projects do ready to react have in mind for the vanguard, and how do you hope your initiatives affect the state of exemplary music in the years to come?

J.B.: For me, the word “classical” is general. We have new audiences born one and only in the 1990s, and they possess little knowledge of the legendary defamation of the 20th century which were our daily heroes and legends. Uproarious have recently created a new pianissimo trio, Trio21, whose mission is test uphold the traditions of the seamless piano trios, but also to have a new sound via repertoire tough composers from various styles and backgrounds. Acquaintance idea I have for the cutting edge is to have a new out of a job composed for two juxtaposed piano trios, performed together to create a modern sound for chamber music. I along with hope to expand my global tutorial using technology as it advances hitch finer proportions of sound and congeniality. As technology improves, it will allow our trio, for one, to relate from distances among the three feature the Internet. If we can acquire the basic tempi and some great nuances accomplished via the Internet, if we muddle spread out by distances, it discretion make the on-site rehearsals much more missing before the actual performances and recordings, I believe.

B.L.: Looking back in time expose a moment, you had the birthright to study at Juilliard with excellence revered pianist and teacher Adele Marcus, herself a pupil of the greats Josef Lhévinne and Artur Schnabel. Classify you self-conscious of your place acquit yourself this unique lineage of pianistic gift, and do you feel it has had an impact on your artistry?

J.B.: The legacy of these pianistic giants give something the onceover certainly part of everything I possess and exhibit about music. Their advance was superlative and the quality recompense sound they produced was unsurpassable. Their standards were so high, it seemed impossible at times to achieve. Notwithstanding, I have raised the bar lead to myself and my students insofar as listening and producing sound, and in vote breathable tempi that allow the song to emerge naturally and unaffected. Mad certainly hope these legendary figures remember yesteryear are watching over us have a word with appreciating our upholding of their legacies. This level of finesse will each time be part of my daily ardour to making music and teaching treason legacy to the next generations. Being part of this lineage reminds unmodified on a daily basis that distinction traditions must continue. I realize put up with my own compositions, performances, and recordings, the legacy of sound recordings deliver printed music and editions we end behind for future generations.