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May 5, 20182018 ScheduleCheck out Spencer's thrilling schedule for 2018 on the Schedule page! Appearances with the Duluth-Superior, Grand Junction, Flagstaff, Windsor, Northeast Pennsylvania, Richmond (IN), Canton and Omaha Symphonies, the Rhode Island, Cape Town and Johannesburg Philharmonics, and the Peninsula Music Festival Orchestra. Recitals in St. Paul, Mendocino, Pretoria, Johannesburg and Durban. More to come!

September 4, 2017Los Angeles KUSC Classical Radio Album of the WeekSpencer's recent release on the Steinway & Sons label -- Piano Rags by William Bolcom -- was recently selected by KUSC Radio in Los Angeles as their Album of the Week. Links to order the CD, in addition to Spencer's other recent Steinway release -- Brahms Cello Sonatas with Brian Thornton -- on the Audio page.

June 22, 2017NEW CDs!Spencer has released two CDs on the Steinway & Sons label this year -- Bolcom: Piano Rags, and Brahms: Sonatas for Cello and Piano (with cellist Brian Thornton). See the Audio page for details on ordering!

September 5, 2016Longy FacultySpencer has joined the Piano and Collaborative Piano Faculty of Boston's Longy School of Music of Bard College.

December 16, 2014Arts Knoxville Most MemorableSpencer was chosen by Alan Sherrod, Classical Music Writer in Knoxville, as the most memorable concerto soloist in Knoxville for the 2013-14 season for his performance of Beethoven's 4th Piano Concerto with the Knoxville Symphony this past May. View the article here:

Lauded for "superb playing" and "poised, alert musicianship" by the Boston Globe, and labeled "definitely a man to watch" by London's The Independent, American pianist SPENCER MYER is one of the most respected and sought-after artists on today's concert stage.

Adding to his coast-to-coast credentials, Spencer Myer includes in his current season debuts with the Rhode Island Philharmonic Orchestra, Arizona’s Flagstaff Symphony Orchestra and Colorado’s Grand Junction and Longmont symphony orchestras, as well as a return engagement with the Duluth Superior and Southeast Iowa symphony orchestras. His solo recitals and chamber music collaborations take him throughout the United States, and he continues as half of the Daurov/Myer Duo, having teamed up with the award-winning cellist Adrian Daurov in 2012. The Duo’s schedule includes a prestigious debut at the Smithsonian American Art Museum in Washington, DC.

Spencer Myer's orchestral, recital and chamber music performances have been heard throughout the United States, Canada, Europe, Africa and Asia. He has been soloist with The Cleveland Orchestra, the Boise, Dayton, Cape Town, Johannesburg and Louisiana Philharmonic Orchestras, Pro Arte Chamber Orchestra of Boston, the Baton Rouge, Indianapolis, Knoxville, New Haven, Phoenix, Santa Fe, Springfield and Tucson Symphony Orchestras, Indianapolis Chamber Orchestra, The Park Avenue Chamber Symphony, Mexico's Orquesta Filarmonica de Jalisco and Beijing's China National Symphony Orchestra, collaborating with, among others, conductors Nicholas Cleobury, Leslie B. Dunner, Robert Franz, Bernhard Gueller, Jacques Lacombe, Jahja Ling, Timothy Muffitt, Kevin Rhodes, Lucas Richman, Klauspeter Seibel, Steven Smith and Victor Yampolsky. His 2005 recital/orchestral tour of South Africa included a performance of the five piano concerti of Beethoven with the Chamber Orchestra of South Africa, followed by return orchestra and recital tours in 2006, 2008, 2010, 2012 and 2015.

Spencer Myer's recital appearances have been presented in New York City's Weill Recital Hall, 92nd Street Y and Steinway Hall, Philadelphia's Kimmel Center and London’s Wigmore Hall, while many of his performances have been broadcast on WQXR (New York City), WHYY (Philadelphia), WCLV (Cleveland) and WFMT (Chicago). An in-demand chamber musician, he has appeared the past five summers at the Lev Aronson Legacy Festival in Dallas with cellists Lynn Harrell, Ralph Kirshbaum, Amit Peled, Tom Landschoot and Brian Thornton, and has enjoyed a recurring partnership with the Miami String Quartet at the Kent/Blossom Music Festival. Other artistic partners include clarinetist David Shifrin, sopranos Nicole Cabell, Martha Guth and Erin Wall, the Jupiter and Pacifica string quartets and the Dorian Wind Quintet.

Spencer Myer's career was launched with three important prizes: First Prize in the 2004 UNISA International Piano Competition in South Africa, the 2006 Christel DeHaan Classical Fellowship from the American Pianists Association and the Gold Medal from the 2008 New Orleans International Piano Competition. He is also a laureate of the 2007 William Kapell, 2005 Cleveland and 2005 Busoni international piano competitions. He enjoys an esteemed reputation as a vocal collaborator since winning the 2000 Marilyn Horne Foundation Competition. Mr. Myer was a member of Astral Artists' performance roster from 2003-2010.

An enthusiastic supporter of the education of young musicians, Spencer Myer has served as a guest faculty at the Oberlin and Baldwin-Wallace Conservatories of Music, and in the fall of 2015, he was appointed Artist-Teacher of Piano and Collaborative Piano at Boston's Longy School of Music of Bard College.

Spencer Myer's debut CD for harmonia mundi usa - solo music of Busoni, Copland, Debussy and Kohs - was released in the fall of 2007 to critical acclaim by Fanfare and Gramophone magazines. He can also be heard on a composer-conducted Naxos CD in performances of three concerti from Huang Ruo's Chamber Concerto Cycle and in a performance of Ravel's Chansons madecasses, included on "Intimate Masterpieces," a 2013 CD featuring faculty and alumni of the Oberlin Conservatory and issued by Oberlin Music. Mr. Myer's most recent recordings -- "Bolcom: Selected Rags" and the Brahms Cello Sonatas with Brian Thornton -- were both released in January 2017 on the Steinway & Sons label.

Spencer Myer is a Steinway Artist.

William Bolcom has proved his compositional versatility in virtually every genre you can name. As a masterly pianist, he has used keyboard techniques to serve whatever musical mission he's set out to accomplish. Over several decades, Bolcom combined his gifts to forge a collection of piano rags that have kept performers and listeners mesmerized.

Pianist Spencer Myer certainly sounds smitten with these disarming pieces. He plays Bolcom's miniature brainstorms with equal doses of sass and sweetness, giving full voice to the drama, poetry and humour that overflow from the page. In Myer's nimble hands, the music reveals the affectionate originality the composer lavished on a popular American art form that had languished for almost half a century until performers and scholars began championining it again in the late 1960s.

Bolcom can be heard paying tribute to ragtime greats, including Scott Joplin, while mixing in his own delicious harmonic and rhythmic flavours. Syncopated figures rub shoulders with haunting melodies as the 16 selections unfold on this disc, which contains three suites whose movements are interspersed with other rags.

The music evokes everything from ghostly apparitions and scenes in the Garden of Eden -- including a naughty serpent whose kiss requires the pianist to literally knock on wood -- to sundry manifestations of ragtime exuberance and lyricism. Bolcom infuses every piece with vivid character and Myer seizes the opporutnity to illuminate these concise treasures, which deserve a place within recital programmes, and not merely as encore afterthoughts.Donald RosenbergGramophone

William Bolcom is an artist with a wondrous vision, a man whose musical discoveries pledged to honor mentors (Darius Milhaud, in particular), pre-developed genres (Ragtime) and eclectic rock (Grateful Dead, specifically keyboardist Tom Contstanten.) It was during his stint as faculty member at Queens College (under tutelage of Rudi Blesh) that ignited him to reach into the past and create his own modernistic twist on an earlier beloved theme.

Scott Joplin is the foundation for Mr. Bolcom’s compositions, yet these pieces stretch the spectrum with frequented quirky pokes and jabs of clever dialogue, making the CD a poignant display of ragtime “in the now.” This first-time Spencer Myer release under the Steinway & Sons label is one that will absorb the listener with instantaneous affection.

Though somewhat somber and wistful (with a more optimistic middle section), Mr. Myer’s expression of The Graceful Ghost Rag unfurls with graciousness especially since the work tributes Bolcom’s father. The ensuing Glad Rag captures the Julliard-trained pianist at his brightest while the jaunty effervescence of Raggin’ Rudi conjures the perky music from The Sting.

Frequently, the “ghost” beckons as Bolcom’s musical protagonist, each one skittering about but with contrasting temperament. Mr. Myer dispenses these wispy formations with introspective coloring…that’s what he does especially well: a raucous “Poltergeist” ghost and a capricious, gauzy “Dream Shadows” ghost are a few examples showing that there’s personality in these wraiths. Clever use of the middle sostenuto pedal and wood tapping (ref: Rossini’s Il signor Bruschino) helps add blustery dashes inside the Knockout Rag while the penultimate Rag Latino finds hints of Leonard Bernstein creeping its way into the score.

One of the highlights is the four-movement The Garden of Eden with its sparkly detail, depicting what one would expect to hear during a silent film. Spencer Myer quickly sets the mood and effectively grasps the Bolcom dynamics in this nearly 20 minute melodramatic work...a stand-alone knockout piece.

There’s plenty of variety in “Piano Rags”, one which deserves a good listen. And while Bolcom’s music reaches beyond expectant Joplin, Spencer Myer is there to assist by carefully fashioning with thought and heart. Highly recommended.

Christie GrimstadConcertoNet.com
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As each new player joins the fray, one remembers the imbalance between the seven hundred pianists listed in the British Music Yearbook, and the thirty who make a decent living from concerts.

Newcomers must find their unique selling point, and when you’re a normal sort of guy with no distinguishing marks or disabilities – look what schizophrenia did for David Helfgott – that comes down to art. Spencer Myer’s CV suggests eight years well spent, following his first win in a South African piano contest: he’s toured indefatigably, become a professor, and accompanied singers, with his Wigmore debut being part of the spoils of victory from a competition in New Orleans. Since London is the classical-music capital of the world, and the Wigmore is chamber music’s Mecca, a gig there is the ultimate pianistic goal.

Myer’s programme was itself a showcase, offering an interesting mix of styles, and starting with a sonata by the original creator of that form, Joseph Haydn. Composed for Haydn’s pupil Princess Marie Esterhazy, the two-movement ‘Sonata in G major HXVI:40’ assumes a high degree of technical brilliance, plus an ability to extract comedy as the surprises are sprung. Myer brought to it a firm but flexible touch, and a nice feel for the architecture: it made a perfect appetiser before Debussy’s ‘Preludes pour piano - Book 1’ which constituted the main course.

Since these came courtesy of the same touch, we were short-changed on the mystery of ‘Danseuses de Delphes’ and on the misty suggestiveness of ‘Les sons et les parfums tournent dans l’air du soir’, but other gems in this collection emerged with vivid clarity. The way the wind blew across the plain and the footsteps silently appeared in the snow was beautifully evoked, while the submerged cathedral rose and sank majestically, as powered by the luxurious quality of Myer’s sound.

The rest of the evening was devoted to Liszt’s ‘Three Petrarch Sonnets’ – poetically delivered – and works by his two star pupils. The virtuosity of Albeniz’s ‘Iberia Book 4’ was superbly honoured, as were the extreme demands of Moszkowski’s ‘Caprice Espagnol’. After making the hardest things look easy, Myer played us out with a gentle Bach transcription, whose web of cantabile themes went at different speeds and cast a lovely spell. Myer is definitely a man to watch.

Michael ChurchThe Independent (London)


This past month, the big news involved two performers -- conductor Carlos Riazuelo and pianist Spencer Myer. If you missed them in concert, there soon will be plenty of chances to catch up.

I was able to hear three of the four pianists that worked with the LPO under Riazuelo. Antti Siirala and Dmitri Levkovich both delivered graceful, professional work, but it was Spencer Myer, who impressed me most when he performed this past Saturday at Loyola University's Roussel Hall. Myer showed the same golden tone and inward, spiritual qualities that earned him a gold medal in the 2008 New Orleans International Piano Competition. His Loyola appearance at the "Concerto Showcase" was part of the prize offered to medalists by the Musical Arts Society of New Orleans, which sponsors the competition.

Myer, Riazuelo and the LPO all sounded great in Rachmaninov's demanding "Rhapsody on a Theme by Paganini." With only a single rehearsal, they never missed a cue with entrances, exits or sudden dynamic shifts. But this performance wasn't just about realizing a score. It conjured Paganini -- the legendary, "demonic" violinist who once ruled Europe's concert stages -- and it reminded one that the composer, too, was a renowned keyboard virtuoso. Myer seemed to channel Rachmaninov, with flickering cross-hand patterns, sweeping arpeggios and octave runs that meshed with the orchestra's jazz-flavored string pizzicatos and pulsing brass. And Myer sounded just as good in the quiet moments, making it clear that the piano is a string instrument, one able to sustain legato lines that resemble a human voice.

Myer will return April 15-16 for performances with the LPO under the baton of resident conductor Rebecca Miller.

Chris WaddingtonContributing Writer, The Times-Picayune


One of the benefits of concerts by the intrepid Chameleon Arts Ensemble is its performance venue. Most of its concerts take place at the Goethe-Institut, in what must have once been an oversized living room. The intimacy of the space makes it possible to experience the music in the kind of proximity that the term “chamber music’’ used to imply.

That sense of immediacy was present throughout Chameleon’s Saturday night concert, nowhere more so than in its centerpiece: an impassioned and broadly scaled performance of the Brahms Piano Quintet. One could hear and admire not just the familiar, surging themes but also the intricate details that often go unnoticed in the tumult, especially when the piece is played in larger halls.

That intimacy also allowed one to appreciate the superb playing of guest pianist Spencer Myer, who anchored the Brahms with poised, alert musicianship and generous tone. The strings matched him in intensity, though their sound was often somewhat wiry.

The Brahms occupied the second half of a lengthy program that opened with three diverse samples of 20th-century fare. Irving Fine’s Partita for Wind Quintet was a pleasant and rhythmically deft specimen of neoclassicism. It was followed by “Try Me, Good King,’’ a song cycle for which composer Libby Larsen drew the texts from the last words of the wives of Henry VIII. Henry’s first five marriages ended in annulment, death, or execution, and Larsen weaves a complex musical tapestry around their words of resignation (Catherine of Aragon) defiance (Anne Boleyn) and deep regret (Katherine Howard). Soprano Sabrina Learman sang with a keen sense of each song’s character, though with an excess of vibrato in places, and Myer was a sympathetic accompanist.

David WeiningerThe Boston Globe

With crisp timing, exquisite touch, and a firm grasp of musical proportion, American pianist Spencer Myer earned the top spot in the 20th annual New Orleans International Piano Competition on Sunday.

In his final round performance at Loyola University, he bested two fine pianists: silver medalist Dmitri Levkovich and bronze medalist Vakhtang Kodanashvili.

Myer played Beethoven's "Sonata No. 24" and a colorful selection of programmatic works by Franz Liszt and Isaac Albeniz. His 50-minute recital matched what veteran observers and the six-person jury had seen throughout the competition: an unruffled professional who consistently drew singing, lyrical sounds from his Steinway concert grand.

Perhaps it helped that Myer had competed in New Orleans before, earning a bronze medal in 2003. During this year's marathon, he presented recitals on Tuesday and Friday, part of a 5-day semifinal round that featured work by a dozen pianist from around the world. This year's field, culled from 105 competitors who submitted recordings, was an especially strong one, reflecting the growing status of the New Orleans contest. The semifinalists included two other medalists from past years.

This year's jury showered Myer -- a 29-year-old graduate of the Julliard School and the Oberlin Conservatory -- with $20,000 and host of performance opportunities. He will return to Roussel Hall -- the site of the competition -- for a solo recital in 2009.

Myer also will play two concerts with the Louisiana Philharmonic Orchestra, and will also appear with orchestras in Baton Rouge and Lafayette. The Musical Arts Society of New Orleans, which organizes the competition, will also arrange a Myer recital at London's famed Wigmore Hall -- the British equivalent of a Carnegie Hall debut. Myer also won the $1,000 prize for the best performance of a work by Claude Debussy...

...Myer established his standing from the outset with his prize-winning account of works from Debussy's "Images" during the semifinals. With Debussy, he demonstrated a phenomenal touch that let him conjure harps, chimes and other delicate sonorities, and a whiplash rhythmic sense that kept these works from degenerating into pastel picture-painting. He brought those same virtues to the only contemporary work performed during the competition: Carl Vine's "Piano Sonata No. 1." On Friday, Myer negotiated Vine's pointillistic 1990 composition, finding a compelling narrative line amid rapt silences, jazz harmonies, tone clusters and long slides down the keyboard.

Myer proved just as fine a storyteller on Sunday as he tackled Beethoven's "Sonata No. 24" and works that brought out his coloristic abilities: selections from Liszt's "Years of Pilgrimage" and "Iberia" by Albeniz. One could almost smell the orange blossoms in Myer's perfumed account of "Evocacion." In "El Puerto" he set one swaying to Spanish dance rhythms. With the Liszt, he wrapped the room in sound, reminding one that the piano is a string instrument. Although the technical demands of Liszt's works make them familiar fare at piano competitions, Myer kept them fresh, showing how they call forth the athlete, the intellectual and the seer in every pianist. Myer turned out to be all three.

Chris WaddingtonContributing writer, The Times-Picayune


Moments before launching into Beethoven’s “Moonlight” Sonata, pianist Spencer Myer offered an observation.

“This sonata is probably Beethoven’s most famous work,” said Myer. “But a lot of people probably don’t know the piece has three movements.”,

Myer did more than play the complete “Moonlight” Sonata on Tuesday night at Joslyn Art Museum. He actually did the music justice. He played the famed Adagio sostenuto movement with glistening tranquillity and the second-movement Allegretto with stylish phrasing and sensitive dynamic shading.

But the real treat came in the third movement. Myer actually played the upward-rushing sixteenth-note arpeggios exactly the way Beethoven intended, both fast and extremely soft. His welcome attention to detail made the movement’s occasional stormy outbursts seem all the more violent and dramatic.

The rest of Myer’s Tuesday Musical Concert Series recital was just as successful and satisfying, both for the pianist’s polish and the variety of his programming.

Beethoven’s Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) is widely regarded as the first true Romantic piano sonata. Leos Janacek’s Sonata 1.X.1905 (“From the Streets”), also on Myer’s program, is often seen as the last Romantic sonata.

This two-movement work possesses all the emotional storm and stress associated with 19th-century Romanticism. But it also contains some of the harmonic dissonance and rhythmic angularity of 20th-century modernism. Myer played the piece with aching lyricism and an almost operatic sort of drama.

Tuesday’s recital opened with Handel’s Suite No. 2 in F major. Handel, of course, composed his keyboard suites for Baroque harpsichord. In his interpretation, Myer came up with a thoughtful compromise. He adhered to all the niceties of Baroque performance practice, playing with terraced dynamics and bouncy dance rhythms. But he played his modern Steinway with warmth and emotion, rescuing the music from dusty antiquarianism.

The highlight of the evening arguably came with Myer’s performance of Schubert’s Four Impromptus, Op. 90. These remarkably colorful mood pieces explore every conceivable emotion, from melancholy to euphoria. Myer played them from the heart, with immediacy and deep feeling.

Myer closed with two movements from Spanish composer Enrique Granados’ “Goyescas.” These pieces combine Lisztian pyrotechnics with lyrical fire, and Myer played them both with gusto. Myer played three encores.

John PitcherOmaha World-Herald


Those who were in the audience for the Artist Series solo recital with pianist Spencer Myer Sunday evening -- and those who have or who will purchase a ticket to tonight's performance -- can consider themselves lucky. Myer is a masterful artist who can thrill even the most jaded listener, which he did so thoroughly in his first Sarasota appearance.

Despite the high impact of his performance, Myer has a gentle and cool presence, not standoffish, but more along the lines of modest and emotionally efficient.

Opening with G.F. Handel's Suite No. 2 in F major, HWV 427, Myer revealed a perfectly Baroque sensibility in style and ornamentation. We were quickly reminded that Handel's charm, though eclipsed by his contemporary J.S. Bach, well deserved the admiration he received in his own life.

The Artist Series has just begun to augment the experience of piano recitals with a full screen projection of the keyboard on stage above the performer. Although I expected this added visual to be at best superfluous, I was pleasantly impressed with how much more engaged I was with the technical aspects of his performance.

From this unique vantage point, one could easily see, and be amazed by, Myer's efficient finger work. And this was all the more fascinating as this economy of movement never once translated into economy of emotion and impact. This was made very evident in his spellbinding performance of Leos Janacek's sonata "From the Street," inspired by the death of a citizen during a Prague protest. Myer's use of the pedal and silence to emphasize the short and seemingly broken statements in the second movement, titled "Death," had us sitting on the edge of our seats.

Even Beethoven's overly familiar "Moonlight" Sonata in C sharp minor, Op. 27, No. 2 felt like a fresh breeze in Myer's hands. The same could be said of the four vocally melodic Impromptus by Franz Schubert considering that Myer has a great love for collaborative work with singers.

What was most striking about this recital program was the extreme breadth of style tackled by the soloist. Myer managed the delicacy and relative control of the Handel Suite, ventured into modernism with Janacek and back again to early Romanticism with Beethoven and Schubert, doing so with a firm scholarly basis for his expressive fluency.

With two selections from Enrique Granados' Goyescas, an 11-part suite for piano based on paintings by Francisco Goya, Myer dove into a much larger Romantic sound with a splash of Spanish flair. The music is big with bold operatic gestures ranging from tempestuous and melancholy to flush with love and fulfillment. The hazard here was getting emotionally lost in these two movements of "Los Requiebros" ("Flirtations") and "El Amor y La Muerte" ("Love and Death").

In its enthusiasm, the audience begged for encore after encore, and Myer obliged us with three -- Debussy's "Le Poisson D'Or" ("The Goldfish"), a Chopin Waltz in A-flat, Op. 42, and finally an Earl Wild transcription of Gershwin's "Embraceable You."

Gayle WilliamsThe Sarasota Herald-Tribune

As the high-level piano recital regrettably recedes somewhat in American concert life, it is comforting to know pianists still know how to put together smart programmes. Many have moved to disc, and this album is best understood as a recital disc, assembled with both the performer's strengths and intriguing connections in mind. American pianist Spencer Myer has compiled a programme with variations as the theme, seen through a disparate range of composers. Juilliard and Oberlin-trained, Myer recorded this disc as the American Pianists Association 2006 Christel DeHaan Classical Fellow.

An excellent choice opens the "concert": Variations on L'homme Armé by Ellis Kohs. This remains one of the most tasteful and telling incorporations of the famous early Renaissance song that inspired multiple Masses. The American composer wrote his variations in 1946-47, and the pleasant counterpoint at the onset turns first to an almost romantic view of war until it becomes ugly and driving. But, with warm tone, Myer treats the halting last variation as a hymn of thanksgiving to war's end rather than depression over its ravages.

A work that can be stiff and severe, and was certainly viewed as such when it premiered in the early '30s, Copland's Piano Variations develop organically in the pianist's hands. In early variations the high register is a ghostly echo - a fantastic contrast to the percussive jazz-like chords that follow. It is primarily through dynamic shifts but also trough varied attack (and some subtle rubato) that Myer breathes more life into this piece than I have heard before. It is far less angular even in the later, virtuoso variations, with Myer simply treating the work with the typical musicality one would offer to Liszt or Schumann. The same approach is obvious for Busoni's Ten Variations on a Prelude by Cbopin. The prelude in question is the funereal Op 28 No. 20, but this set from 1922 is actually Buoni's reworking of earlier variations on the Prelude in 1885. Busoni reworked them to cut down on the excess of the first set, and Myer honours that with crisp and agile playing.

From here the disc veers from its main theme, but Debussy's Prdludes Book 2, are at least variations of images and concepts. Myer has a delicate touch with fingers and feet, and clearly has a feel for the pacing inherent in these short works. But listening to this album straight though, this final section is a bit of a let-down. We were primed for a grander finish that not even the pyrotechnics of "Feux d'artifice" can provide. But the impression was already made, recital or not: this is a compelling and artful disc by a rising talent.


When pianist Spencer Myer played here two years ago, in his first performance in the Young Pianist Series, his stage personality already gave more attention on the music he played than to his mannerisms. He's still devoid of any flamboyant pretenses. What he has added since that concert is a highly nuanced simultaneous management of multiple voices and textures. And it was that which was on display in his Sunday afternoon performance that opened this year's Young Pianist Series at the University of Tennessee Music Hall.

In a superb performance of Maurice Ravel's "Alborada del gracioso," from Ravel's 1905 collection "Miroirs," played near the end of his program, the middle section had watercolor undertones of subtle, sustained dissonances that colored the space beneath the piece's crisp Spanish dance motifs. One could also see the sunlight sparkling on the water while hearing it splash against the sides of the boat in Ravel's "Une bargue sur l'ocean" ("A Boat on the Ocean"), which Myer played a few minutes earlier.

Myer opened the concert with one of Beethoven's less-often-played sonatas, the "Sonata No. 24 in F Sharp Major," Op. 78, written in 1809.

Following that were Igor Stravinsky's "Four Etudes," Op. 7, written in 1908 when Stravinsky was only 26 and had not yet found his distinctive voice. In the second one, written in D Major, Myer had layers of images that had delicate shadows moving beneath the surface theme.

There was also music by Gershwin, both in disguises of Earl Wild's etudes on "Embraceable You" and "Fascinating Rhythm," as well as Gershwin's own "Three Preludes," written with the intention of establishing himself as a serious classical composer and not just a creator of popular music.

Always gracious on stage, Myer at the end rewarded the audience with encores that first ripped through Rachmaninoff's transcription of Rimsky-Korsakov "The Flight of the Bumblebee," then concluded with a gorgeous playing of Egon Petri's transcription of the soprano aria "Schafe konnen sicher weiden," from J. S. Bach's "Cantata," BWV 208, written in 1713 as a birthday celebration for Duke Christian of Saxe-Weissenfels.

Knoxville News-Sentinel

Palm Beach Daily News

Over the years, the Young Artists Series has brought some serious talent to the Rinker Playhouse. Most of the musicians featured in the series are fresh out of conservatories and have incredible technical skills but sometime lack true artistry. Once in a while, a true outstanding performance happens, and that was the case of Tuesday's piano recital given by Spencer Myer.

Similarly to past performers, Myer has an extensive list of prizes in competitions, famous teacher and important upcoming engagements. Unlike most, however, his recital showed not only potential talent but excellent skill and total professionalism.

His program was an ambitious one that was almost overwhelming but delivered without flaws. He started with Ludwig van Beethoven's "Sonata in F-sharp Major, Op. 78." Written after the fiery "Appassionata", the work is said to have been one of the composer's favorites. It has a sunny sheen that is heard throughout its two movements. Myer undertook them with sensibility and stylistic awareness. It was especially refreshing to hear him take both repeats in the first movement (instead of just the one at the end of the exposition) -- a clear sign of his respect and understanding for the music of the German master.

Next came the "Sonata-Reminiscenza, Op. 38 #1" by Nikolai Medtner. And extended one-movement work, it is typical of Medtner's conservative style. Although Myer performed the work with imagination and sensitbility, its positioning right after Beethoven's jewel was somewhat detrimental and exposed many of the piece's weaknesses.

Up next, the Russian selections, "Four Etudes, Op. 7" by Igor Stravinsky, fared a little better and not because they were of better quality, but because they allowed the audience to hear the pianist's virtuoso abilities in full. Indeed, these short "Etudes" are not your typical Stravinsky; they are early works more reminiscent of Scriabin and lack the originality one would find in his mature works.

The second half of the program consisted of Frederic Chopin's Four Ballades. Usually played as single pieces (and usually closing programs thanks to their virtuosity), they feature Chopin at his highest genius. IT is hard to envision works closer to the romantic ideals than these four pieces based on epic Polish poems. Once again, Myer delivered them in a most impressive way. Not once did he seem overwhelmed by the technical difficulties present in each piece, and he played them with romantic flair and a high dramatic sense.

He obliged a deserving standing ovation with encores featuring transcriptions of "The Flight of the Bumble-Bee" by Rimsky-Korsakov, "Fascinating Rhythm" by George Gershwin, and "Sheep May Safely Graze" by J.S. Bach, thrilling the audience and thus ending an evening of pure musicianship.

Palm Beach Daily News

Spencer Myer gave a gloriously expressive take on the Gershwin [Concerto in F].

The Indianapolis Star

In Beethoven's Piano Concerto No. 4, Myer was the epitome of assurance and order. He phrased the serene opening phrase with utmost clam and proceeded to set forth the first movement's luminous lines as if they were the most precious pearls. Everything was fluent, noble and clear, both in textural and structural terms. The second movement's alternating statements between pianist and orchestra found Myer using his subtlest powers to persuade the opposing forces to retreat. The finale had nimble grace and a buttery touch that drew the listener deeply into Beethoven's gleeful arguments. He won the type of standing ovation usually reserved for renowned keyboard heroes.

The Cleveland Plain Dealer

Spencer Myer once again lavished freshness and expressive logic on his program. He played Debussy's Images Book II with an emphasis on animated motion, nuanced dynamics and playful seduction. The unbridled joy Myer invests in his music-making also was evident in Albéniz's Iberia Book II, which had sensuousness, fragrance and something too often lacking on today's musical scene: charm. He delved into the 20th century with Samuel Barber's Sonata in E-flat minor, Op. 26, whose morose lyricism and hallucinatory waltz lead to a brash, tangled fugue. Myer concocted a magnificent banquet out of the score's dark brilliance and moodiness.

The Cleveland Plain Dealer

This was a performance in an altogether different class to all the others. Not only is Myer an entirely finished artist, but his playing was so acutely logical yet expressive that the inimitable Mozartean magic of a great performance was patently evident. The slow movement was a case in point. One hung on to every note, waiting for each melodic nicety in nearly breathless expectation.

The Citizen (Johannesburg, South Africa)

The best Mozart emanated from Myer. His playing of Concerto No. 9 was captivating: poised and well-contoured, responsive to every nuance. He drew very precise articulation and exceptionally sweet tone from the piano and was also justly rewarded with the best Mozart performance. Everything Myer did throughout this grueling competition possessed the imprint of singular artistry and integrity. He interpreted Beethoven's Concerto No. 4 (for which he again was awarded the best performance of a concerto) with glowing grace via glistening fingertip delicacy.

Pretoria News (Pretoria, South Africa)

Spencer Myer presented a programme which had an integrating musical and spiritual thread woven into its harmonic and stylistic fabric, although very varied in form and period. He evinced an enthralling grasp of each work's structural and emotional impact. His supreme artistry displayed effortless control of dynamics and graceful fluidity in keyboard approach with his whole body entirely at his conceptual command. This quality places him in the league of the historic classical giants of the keyboard.

In Samuel Barber's Sonata Op. 26, the artist extracted astounding fortissimos in all registers and stark bone-rattling arpeggios assailing the listener with huge dramatic conviction. The culminating four-part Fugue was accomplished in lucid power.

The climax of Spencer Myer's art was worthily invested in the collage of miniatures in Schumann's Davidsbündlertänze, Op. 6. Here rhythmic intricacies and melodic meditation were succinctly realized, highlighted by subtle pauses amidst explosive bravura chordal rhythmic figures.

Knysna-Plett Herald

Spencer Myer, the pianist who played Johannes Brahms' Concerto No. 1, Op. 15, in D Minor, was a top-notch artist who collaborated extremely well with the orchestra in this monumental composition. Myer displayed an intense lyricism, beautifully executed. His command of the music was flawless.

The Ellsworth American

Myer floated through Beethoven's Fourth Piano Concerto with ease, bringing a liquid romanticism to this most accessible piece. Demonstrating an almost unbearably perfect technique, Myer combined strength with a lightning suppleness that shows why he won the 2004 UNISA International Piano Competition not long after graduating from Juilliard. He shone particularly in the beautiful second movement, where his ardent and gentle playing contrasted with the aggressive orchestra part.

The Day (Connecticut)

Myer delivered mature, polished artistry.

The Indianapolis Star

The sensitivity and fluency that must have impressed the various jurors were in bountiful evidence during Myer's recital. In works by a range of composers from Gluck to Cleveland's Frederick Koch, the pianist explored a wealth of colors and expressive moods as he paid fine attention to structural concerns. He appears to have natural inclinations for the music of Debussy; in Images, Books I & II, Myer captured the fleeting atmospheres in seamless lines, savoring inner voices while also emphasizing the composer's magical textures. The score of Scriabin's Sonata No. 2 found a champion in Myer, whose romantic soul generously delineated the work's special virtues.

The Cleveland Plain Dealer

It was epic: Beethoven's five piano concertos in two days. And it was a triumphant traversal. The comfortable collaboration between Spencer Myer, last year's winner of the Unisa International Piano Competition, and the Chamber Orchestra of South Africa - conducted by Arjan Tien - displayed strong phrase contouring, finesse and responsive precision. Myer adopted a long-limbed, sinewy, almost ascetic approach, in which he combined exemplary musicianship with superb pianism, free of any distracting idiosyncracies. Throughout he maintained the same basic approach: beautiful sounds, an evenly balanced deployment of contrasts and expressive inflections.

Friday's concert was launched with the Concerto No. 1. It had Myer in resourceful form, giving a surprising variety of touch and power to hold the interest. Textures were crystalline. Concerto No. 2 was marked by the same ingratiating tone. In the Concerto No. 3, Myer's elegant phrasing and a certain quality of understatement never degenerated into indifference. He floated the cantabile lines with fine-grained tone and unfailing clarity. Yet, in the flanking movements, he painted in vivid, primary colours.

Myer played the opening bars of Concerto No. 4 in a magical way symptomatic of his performance throughout, which had a youthful suppleness which was most beguiling. In the famous slow movement (as was the case in the Adagio of the Emperor) the playing was simply superb: controlled and aristocratic, by turns poetic and searching, virile and intense. Myer played Concerto No. 5 with panache and exhilarating fleetness. Most importantly, he showed an overall grasp of Beethoven's characteristic idiom and method.

He was always acutely sensitive to the composer's many subtleties. Above all, he remained supremely poetic. Myer played the cadenzas, all by Beethoven, with effortless pianism. IT was nuanced playing to the hilt, warm as well as virtuosic. He fully deserved the ecstatic audience's standing ovations.

Pretoria News (Pretoria, South Africa)

Myer is more than a pianist. He is an artist.

Die Beeld (Johannesburg, South Africa)

Mr. Myer gave us a continually reflective and sensitive Brahms First Concerto, of a density that communicated to the entire hall and, like a miracle, to the orchestra as well.

La Presse (Montréal)

Last Wednesday I was again in those elegant environs [of Preston Bradley Hall for the Dame Myra Hess Memorial Concerts], again with a near-packed house, to hear the young pianist Spencer Myer.

He's long on talent and short on distracting theatrics, so he straightaway made a great impression. He opened with an arrangement by Sgambati of "Dance of the Blessed Spirits" from Gluck's "Orfeo". Myer performed this haunting music with a simple directness that was quietly moving.

Haydn's Variations in F Minor, Hob. XVII:6, provided a platform for Myer to showcase his airy lightness, and always found the quiet breaths between the notes. Whether it was the minor key restlessness or the major key exuberance, he had what was needed, in just the right quantities.

But the most dramatic moments of the recital came when he sat down to play three excerpts from Ravel's "Miroirs". "Noctuelles" (Night Moths) was dizzy and fidgety while "Une barque sur l'ocean" (A Boat on the Ocean) was a virtuosic miniature that threatened to make you seasick. He closed with the charming "Alborada del gracioso" (Morning Song of the Jester), with all its complicated technical elements combining to create pleasing sound well rendered by Myer.

He ended his recital with cheers throughout the audience, many nearly leaping out of their seats to stand and applaud.

Hyde Park Herald (Chicago)

Spencer Myer offered delectable playing of Ravel.

Yorkshire Post (Leeds)

I have to tell you to watch for Spencer Myer. Lately there haven't been many Americans who stirred me as he did.

American Record Guide
Past Performances

Upcoming Performances

May 29, 2018Solo Recital - North West University, Potchefstroom CampusConservatory HallPotchefstroom, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.
June 2, 2018Solo Recital - Hugo Lambrechts AuditoriumParow, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.
June 3, 2018Solo Recital - Helderberg Village Music SocietyTalani Hall, Helderberg VillageSomerset West, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.
June 9, 2018Solo Recital - Johannesburg Musical SocietyLinder AuditoriumJohannesburg, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.more info...
June 10, 2018Solo Recital - Brooklyn TheatrePretoria, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.
June 14, 2018Cape Town PhilharmonicArtscape Opera HouseCape Town, South AfricaGreig - Piano Concerto, Op. 16. Victor Yampolsky, Conductor.
June 16, 2018Solo Recital - Music Revival SeriesHome of Christopher DuiganPietermaritzburg, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.
June 18, 2018Solo Recital - Durban Friends of MusicJewish ClubDurban, South AfricaHaydn - Sonata in E Major, Hob. XVI: 31. Debussy - Estampes, D'un cahier d'esquisses, Masques, L'isle joyeuse. Chopin - The Four Scherzi.
Wednesday, June, 20, 2018Johannesburg Philharmonic OrchestraLinder AuditoriumParktown, Johannesburg 2193, South AfricaGrieg - Piano Concerto, Op. 16. Cathrine Winnes, Conductor.
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Thursday, June, 21, 2018Johannesburg Philharmonic OrchestraLinder AuditoriumParktown, Johannesburg 2193, South AfricaGrieg - Piano Concerto, Op. 16. Cathrine Winnes, Conductor.
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July 14, 2018Solo Recital - Young Artist World Piano FestivalBenson Great Hall, Bethel UniversitySt. Paul, MNProgram TBA.
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July 18, 2018Solo Recital - Mendocino Music FestivalPreston HallMendocino, CAProgram TBA.
August 18, 2018Recital with Louise Dubin, CellistBruno Walter Auditorium, Lincoln Center Library for the PerformiNew York, NYProgram TBA.
August 25, 2018Peninsula Music FestivalDoor County AuditoriumFish Creek, WILiszt - Piano Concerto No. 2 in A Major. Victor Yampolsky, Conductor.
September 16, 2018Saugerties Pro MusicaSaugerties United Methodist ChurchSaugerties, NYRecital with Adrian Daurov, Cellist. Program TBA.
September 21 and 22, 2018Omaha Symphony OrchestraPeter Kiewit Concert Hall, Holland Performing Arts CenterOmaha, NEBernstein - Symphony No. 2 ("Age of Anxiety"). Thomas Wilkins, Conductor.
September 28, 2018Windsor Symphony OrchestraPentastar Theatre, Capitol TheatreWindsor, OntarioGrieg - Piano Concerto, Op. 16. Robert Franz, Conductor.
October 6, 2018Northeastern Pennsylvania PhilharmonicKirby Center for the Performing Arts, Wyoming SeminaryKingston, PARachmaninoff - Piano Concerto No. 2, Op. 18. Melisse Brunet, Conductor.
October 27, 2018Richmond Symphony OrchestraCivic Hall Performing Arts CenterRichmond, INSaint-Saens - Piano Concerto No. 2, Op. 22. Guy Bordo, Conductor.
November 18, 2018Canton Symphony OrchestraWilliam E. Umstattd Performing Arts HallCanton, OHGershwin - Concerto in F. Gerhardt Zimmermann, Conductor.
March 7, 2019Chattanooga Symphony OrchestraTivoli TheatreChattanooga, TNBrahms - Piano Concerto No. 2, Op. 83. Kayoko Dan, Conductor.
March 31, 2019Mid-Texas Symphony OrchestraJackson Auditorium, Texas Lutheran UniversitySeguin, TXBeethoven - Piano Concerto No. 4, Op. 58. Teresa Cheung, Conductor.
May 5, 2019Massapequa Philharmonic OrchestraBerner Middle School AuditoriumMassapequa, NYRachmaninoff - Piano Concerto No. 2, Op. 18. David Bernard, Conductor.

For worldwide bookings excluding Europe and South Africa

Thomas F. Parker
382 Central Park West #9G
New York, NY 10025
tel:(212) 864-7928
fax (212) 864-8189

For bookings in South Africa

PO Box 678, Fontainebleau, Gauteng Province, 2032
tel: +27 11 793 2334
Christoph Willibald Gluck / Giovanni Sgambati
Dance of the Blessed Spirits
from "Orfeo"
Johann Sebastian Bach
Partita No. 1 in B-flat Major, BWV 825
George Frideric Handel
Suite in F Major, HWV 427
Ludwig Van Beethoven
Piano Sonata in E Major, Op. 109
I. Vivace ma non troppo - Adagio espressivo & II. Prestissimo
Ludwig Van Beethoven
Piano Sonata in E Major, Op. 109
III. Gesangvoll, mit innigster Empfindung
Ludwig Van Beethoven
Piano Concerto No. 4 in G Major, Op. 58
III. Rondo: Vivace
Ludwig van Beethoven
Piano Concerto No. 5, Op. 73 ("Emperor")
2nd and 3rd movements
Franz Liszt
Ballade No. 2 in B Minor
Claude Debussy
Préludes Book I
Claude Debussy
Le vent dans la plaine
Préludes Book I
Claude Debussy
Préludes, Book II, No. 8
Claude Debussy
Les tierces alternées
(Préludes, Book II, No. 11)
Aaron Copland
Piano Variations
Ferruccio Busoni
Ten Variations on a Prelude of Chopin, BV213a
Sergei Rachmaninov
Rhapsody on a Theme of Paganini, Op. 43
Leoš Janáček
Sonata 1.X.1905
1st movement
Leoš Janáček
Sonata 1.X.1905
2nd movement
George Gershwin
Concerto in F
1st movement
Samuel Barber
Piano Sonata, Op. 26
I. Allegro energico
Samuel Barber
Piano Sonata, Op. 26
II. Allegro vivace e leggero
Samuel Barber
Piano Sonata, Op. 26
III. Adagio mesto
Samuel Barber
Piano Sonata, Op. 26
IV. Fuga: Allegro con spirito

Spencer Myer
William Bolcom: Piano Rags

Brian Thornton and Spencer Myer
Johannes Brahms: Sonatas for Cello and Piano

Spencer Myer
Spencer Myer, Pianist - Live in Recital

Spencer Myer
Spencer Myer Plays Preludes and Variations

Brian Thornton (Cello) and Spencer Myer (Piano)
Kol Nidrei and Beyond, Lev's Story

Yolanda Kondonassis (Harp), Jupiter String Quartet, Alexa Still (Flute), Richard Hawkins (Clarinet), Ellie Dehn (Soprano) and Spencer Myer (Piano)
Ravel: Intimate Masterpieces

Park Avenue Chamber Symphony. David Bernard, Conductor. Spencer Myer, Piano. David Chan, Violin.
Beethoven - Piano Concerto No. 4 and Violin Concerto



BEETHOVEN - Piano Concerto No. 4 in G Major, Op. 58

Ludwig van Beethoven - Piano Concerto No. 4 in G Major, Op. 58

NYCA Symphony Orchestra

Eduard Zilberkant, Conductor

Recorded live in Symphony Space, New York City

June 20, 2017

RAVEL - Miroirs: I. Noctuelles

Maurice Ravel - Miroirs

1. Noctuelles (Night moths)

Recorded live at Pickman Hall, Longy School of Music

Cambridge, MA

February 5, 2017

RAVEL - Miroirs: II. Oiseaux tristes

Maurice Ravel - Miroirs

2. Oiseaux tristes (Sad birds)

Recorded live at Pickman Hall, Longy School of Music

Cambridge, MA

February 5, 2017

RAVEL - Miroirs: III. Une barque sur l'océan

Maurice Ravel - Miroirs

3. Une barque sur l'océan (A boat on the ocean)

Recorded live at Pickman Hall, Longy School of Music

Cambridge, MA

February 5, 2017

RAVEL - Miroirs: IV. Alborada del gracioso

Maurice Ravel - Miroirs

4. Alborada del Gracioso

Recorded live at Pickman Hall, Longy School of Music

Cambridge, MA

February 5, 2017

RAVEL - Miroirs: V. La vallée des cloches

Maurice Ravel - Miroirs

5. La vallée des cloches (The valley of bells)

Recorded live at Pickman Hall, Longy School of Music

Cambridge, MA

February 5, 2017

VINE - Piano Sonata No. 1 (1st mvmt)


Piano Sonata No. 1 (1990) - 1st mvmt

Recorded in Fort Worth, 2009

VINE - Piano Sonata No. 1 (2nd mvmt)


Piano Sonata No. 1 (1990) - 2nd mvmt

Recorded in Fort Worth, 2009

SCARLATTI - Sonata in B Minor


Sonata in B Minor K87

CHOPIN - Polonaise-Fantaisie


Polonaise-Fantaisie in A-flat Major, Op. 61

CHOPIN - Barcarolle, Op. 60


Barcarolle, Op. 60

Recorded in Fort Worth, 2009

DEBUSSY - Cloches à travers les feuilles


Cloches à travers les feuilles

from Images, Book II

DEBUSSY - Et la lune descend sur le temple qui fut


Et la lune descend sur le temple qui fut

from Images, Book II

DEBUSSY - Poissons d’or


Poissons d’or

from Images, Book II

DEBUSSY - Les fées sont d'exquises danseuses


Les fées sont d'exquises danseuses

from Preludes, Book II

DEBUSSY - Ondine



from Preludes, Book II

DEBUSSY - Feux d'artifice


Feux d'artifice

from Preludes, Book II

LISZT - Gondoliera



from Venezia e Napoli

ALBÉNIZ - El Puerto


El Puerto

from Iberia, Book I

BEETHOVEN - Sonata in D Minor - I


Sonata in D Minor, Op. 31 #2 ("Tempest")

I - Largo - Allegro

BEETHOVEN - Sonata in F# Major, Op. 78 - 1st Movemnt


Sonata in F# Major, Op. 78 - 1st Movement

BEETHOVEN - Sonata in F# Major, Op. 78 - 2nd Movement


Sonata in F# Major, Op. 78 - 2nd Movement

MOZART - Piano Concerto #9 - I - Part 1


Piano Concerto #9 in E flat Major, K271

1st movement

MOZART - Piano Concerto #9 - I - Part 2


Piano Concerto #9 in E flat Major, K271

1st movement

MOZART - Piano Concerto #9 - II - Part 1


Piano Concerto #9 in E flat Major, K271

2nd movement

MOZART - Piano Concerto #9 - II - Part 2


Piano Concerto #9 in E flat Major, K271

2nd movement

MOZART - Piano Concerto #9 - III - Part 1


Piano Concerto #9 in E flat Major, K271

3rd movement

MOZART - Piano Concerto #9 - III - Part 2


Piano Concerto #9 in E flat Major, K271

3rd movement

VINE - Piano Sonata No. 1


Piano Sonata No. 1 (1990)

Recorded in Cleveland, 2005

Upcoming Performances

Past Performances

April 16, 2013Solo Recital - Texas Tech UniversityTalkington Hall, The Legacy Event CenterLubbock, TXWorks of Haydn, Schubert, Albeniz and Stravinsky.
April 12, 2013Solo Recital - McKinney Musical Arts SocietyHeard-Craig Performance HallMcKinney, TXWorks of Haydn, Schubert, Albeniz and Stravinsky
April 7, 2013The Artist Series of TallahasseeOpperman Music Hall, Florida State UniversityTallahassee, FLDuo Recital with Adrian Daurov, Cellist. Works of Beethoven, Debussy and Rachmaninoff.more info...
March 7, 2013Recital with Adrian Daurov, CellistBezanson Recital Hall - University of Massachusetts Amherst FineAmherst, MAWorks of Beethoven, Debussy and Rachmaninoff.
February 27, 2013Solo Recital - Northern Virginia Music Teachers AssociationArlington Women's ClubArlington, VAWorks of Haydn, Schubert, Albeniz and Stravinsky
February 18, 2013Solo Recital - Tennessee Tech UniversityWattenbarger AuditoriumCookeville, TNWorks of Haydn, Schubert, Albeniz and Stravinsky
February 16, 2013Indianapolis Chamber OrchestraAthenaeum TheatreIndianapolis, INGershwin - Rhapsody in Blue. Kirk Trevor, Conductor.more info...
February 10, 2013Park Avenue Chamber SymphonyAll Saints ChurchNew York, NYBeethoven - Concerto No. 4. David Bernard, Conductor.more info...
February 9, 2013Park Avenue Chamber SymphonyAll Saints ChurchNew York, NYBeethoven - Concerto No. 4. David Bernard, Conductor.more info...
January 26, 2013Recital with Adrian Daurov, CellistBarge MusicBrooklyn, NYWorld Premieres by Ricky Ian Gordon and Christopher Gunning, and Sonatas by Schubert and Rachmaninoff.more info...
January 24, 2013The Embassy SeriesAustrian EmbassyWashington, D.C.Schubert "Arpeggione" Sonata. With Adrian Daurov, Cellist.
January 20, 2013Santa Fe SymphonyLensic Performing Arts CenterSanta Fe, NMRachamaninoff - Concerto No. 2. Steven Smith, Conductor.more info...
January 6, 2013Solo RecitalPhillips CollectionWashington, D.C.Works of Debussy, Albeniz and Moskowskimore info...
December 29, 2012Chamber Music Quad CitiesDavenport Unitarian ChurchDavenport, IAWith David Bowlin (Violin), Katinka Kleijn (Cello) and Conor Nelson (Flute).Works of Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Wilhelm Friedemann Bach.more info...
December 16, 2012Recital - Brooklyn Art Song SocietyTenri Cultural InstituteNew York, NYSongs of Schubert with Martha Guth (Soprano), Pascal Archer (Clarinet), and David Wakefield (Horn).more info...
December 8, 2012String Orchestra of BrooklynSt. Ann's ChurchBrooklyn, NYSchumann - Piano Concerto, Op. 54. Eli Spindel, Conductor.more info...
December 2, 2012Solo Recital - Acadia UniversityGarden Room, K.C. Irving Environmental and Science CentreWolfville, Nova ScotiaWorks of Haydn, Debussy, Liszt, Albeniz and Moskowski.more info...
November 18, 2012Solo Recital - Xavier UniversityGallagher Student Center AuditoriumCincinnati, OHWorks of Haydn, Debussy, Albeniz, Gottschalk and Moskowski.more info...
November 14, 2012Solo Recital - Warren Concert AssociationStruthers Library TheatreWarren, PAWorks of Haydn, Debussy, Liszt, Albeniz and Moskowski.more info...
November 11, 2012Recital - Cleveland International Piano CompetitionDouble Tree Tudor Arms HotelCleveland, OHSolo piano music by Macdowell, Gershwin, Gottschalk and Barber; Selections from the American Songbook with Maribeth Crawford, Soprano.more info...
November 2, 2012Solo Recital - Montana Music Teachers AssociationHilton Garden InnKalispell, MTWorks of Haydn, Debussy, Liszt, Albeniz and Moskowski
October 27, 2012Solo Recital - Leschetizky AssociationTenri Cultural InstituteNew York, NYWorks of Haydn, Debussy, Liszt, Albeniz and Moskowskimore info...
October 14-19, 2012Van Cliburn Foundation - Outreach ConcertsFort Worth Elementary SchoolsFort Worth, TX"Virtuosity" Program: works of Chopin, Debussy, Prokofiev, Scriabin
October 13, 2012Recital - Brooklyn Art Song SocietyPresented by BargemusicBrooklyn, NYSchubert - Sonata in A Major, D. 959more info...
October 6, 2012Solo Recital - Chamber Music ColumbusSouthern TheatreColumbus, OHWorks of Haydn, Debussy, Liszt, Albeniz and Moskowskimore info...
October 3, 2012Solo Recital - Oberlin Conservatory of MusicWarner Concert HallOberlin, OHWorks of Haydn, Debussy, Liszt, Albeniz and Moskowski
October 1, 2012Solo Recital - Rocky River Chamber Music SocietyWest Shore Unitarian ChurchRocky River, OHWorks of Haydn, Debussy, Liszt, Albeniz and Moskowski. Featuring Schubert's F Minor Fantasy with Sungeun Kim, Pianist.more info...
September 27, 2012Solo Recital - Missouri State UniversityHammons Performing Arts CenterSpringfield, MOWorks of Haydn, Debussy, Liszt, Albeniz and Moskowski
September 23, 2012North State SymphonyLaxson AuditoriumChico, CAKyle Pickett, Conductor.Gershwin - Rhapsody in Blue
September 22, 2012North State SymphonyCascade TheatreRedding, CAKyle Pickett, Conductor.Gershwin - Rhapsody in Blue.more info...
September 16, 2012Solo Recital - Steinway Society of the Bay AreaLe Petit Trianon TheatreSan Jose, CAWorks of Haydn, Debussy, Liszt, Albeniz and Moskowskimore info...
Ludwig van Beethoven
Concerto No. 1 in C Major, Op.15
Concerto No. 2 in B-Flat Major, Op.19
Concerto No. 3 in C Minor, Op.37
Concerto No. 4 in G Major, Op.58
Concerto No. 5 in E-flat Major, Op.73 ("Emperor")
Choral Fantasy, Op.80

Leonard Bernstein
Symphony No. 2 ("The Age of Anxiety")

Johannes Brahms
Concerto No. 1 in D Minor, Op.15
Concerto No. 2 in B-Flat Major, Op. 83

Frédéric Chopin
Concerto No. 1 in E Minor, Op. 11
Concerto No. 2 in F Minor, Op.21
Andante Spinato and Grande
Polonaise Brilliante, Op.22

Vincent D'Indy
Symphony on a French Mountain Air

Manuel De Falla
Noches en los jardines de España

George Gershwin
Rhapsody in Blue
Variations on I Got Rhythm
Concerto in F
Second Rhapsody

Edvard Grieg
Concerto in A Minor, Op.16

Franz Liszt
Concerto No. 2 in A Major

Felix Mendelssohn
Capriccio Brillant, Op.22

Wolfgang Amadeus Mozart
Concerto No. 9 in E-Flat Major, K.271
Concerto No. 20 in D Minor, K.466
Concerto No. 21 in C Major, K. 467
Concerto No. 24 in C Minor, K.491
Concerto No. 25 in C Major, K.503

Francis Poulenc

Sergei Prokofiev
Concerto #2 in G Minor, Op.16
Concerto #3 in C Major, Op. 26

Maurice Ravel
Concerto for the Left Hand
Concerto in G Major

Sergei Rachmaninoff
Concerto No. 1 in F-Sharp Minor, Op. 1
Concerto No. 2 in C Minor, Op.18
Concerto No. 3 in D Minor, Op. 30
Rhapsody On a Theme by Paganini, Op.43

Camille Saint-Saëns
Concerto No. 2 in G Minor, Op.22
Concerto No. 5 in F Major, Op.103

Robert Schumann
Concerto in A Minor, Op.54
Konzertstück, Op.92

Dmitri Shostakovich
Concerto No. 2 in F Major, Op. 102

Igor Stravinsky
Concerto for Piano & Wind Instruments

Piotr Ilyich Tchaikovsky
Concerto No. 1 in B-Flat minor, Op.23
Isaac Albéniz
Iberia, Books I, II, and IV

Johann Sebastian Bach
English Suite No. 3 in G Minor, BWV 808
French Suite No. 5 in G Major, BWV 816
Italian Concerto, BWV 971
Partita No. 1 in B-Flat Major, BWV 825
Toccata in F-Sharp Minor, BWV 910

Bach, J.S./Ferruccio Busoni
Chorale Prelude: Jesus Christus, unser Heiland

Bach, J.S./Egon Petri
Sheep May Safely Graze

Samuel Barber
Excursions, Op. 20
Sonata, Op.26

Bela Bartók
Dance Suite, Sz. 77

Ludwig van Beethoven
Rondo in C Major
Sonatas: Op.13, Op. 27 No. 2, Op. 28, Op.31 No. 2, 53, 57, 78, 81a, 109, 110

William Bolcom
Selected Rags

Johannes Brahms
Variations and Fugue on a Theme by Handel, Op.24
Scherzo in E-Flat minor, Op.4
Fantasien, Op.116

Johannes Brahms/Ferruccio Busoni
Six Chorale Preludes, Op. 122

Ferruccio Busoni
Chopin Variations, BV 213a

Robert Casadesus
Toccata, Op.40

Frédéric Chopin
The Four Ballades
Scherzi: Nos. 2, 3, 4
Sonata in B Minor, Op.58
Three Mazurkas, Op. 59
Polonaises: A Major,Op.40; A-Flat, Op.53
Polonaise-Fantaisie, Op. 61
Barcarolle, Op.60
Andante Spianato and Grande Polonaise, Op. 22

Aaron Copland
Piano Variations (1930)

Claude Debussy
Images, Book I & II
Préludes Book I and II
Pour le Piano
Suite Bergamasque
L'isle joyeuse

George Gershwin
3 Preludes

Alberto Ginastera
Sonata No. 1, Op.22

Enrique Granados
"Los Requiebros" and "El Amor y La Muerte", from Goyescas

Franz Josef Haydn
Sonata in E-Flat Major, Hob.XVI:52
Sonata in G Major, Hob.XVI:40
Variations in F Minor, Hob. XVII:6

George Frederic Handel
Suite No. 2 in F Major, HWV 427

Leoš Janáček
Sonata 1.X.1905 ("From the Street")

Franz Liszt
Mephisto Waltz
Hungarian Rhapsody #6
Valse de l'opera Faust
Venezia e Napoli
Ballade in B Minor
Tre Sonetti di Petrarca
Les jeux d'eaux a la villa d'Este

Edward Macdowell
To a Wild Rose

Nikolai Medtner
Sonata-Reminiscenza, Op. 38 No. 1

Felix Mendelssohn
Variations Serieuses, Op.54
Rondo Capriccioso, Op.14

Wolfgang Amadeus Mozart
Fantasia in C Minor, K. 475
Sonatas: K. 281, 283, 310, 332, 333

Moritz Moskowski
Caprice Espagnol, Op. 37

Sergei Prokofiev
Sonata No. 3, Op.28
Sonata No. 7, Op.83

Sergei Rachmaninoff
Selected Preludes and Etudes-Tableaux

Maurice Ravel
Jeux d'eau
Le Tombeau de Couperin

Domenico Scarlatti
Sonata in D minor, L.422
Sonata in A Major, L.238
Sonata in A Major, L.345
Sonata in B Minor, L.33
Sonata in E Major, L.23

Franz Schubert
Four Impromptus, Op. 90
Sonata in A Major, D. 959

Robert Schumann
Carnaval, Op.9
Variations on the name "Abegg", Op. 1
Davidsbündlertänze, Op.6
Waldszenen, Op. 82
Fantasie in C Major, Op. 17

Alexander Scriabin
Sonata #2, Op.19

Igor Stravinsky
Four Etudes, Op. 7
Firebird Suite (Transcribed by Guido Agosti)

Carl Vine
Piano Sonata No. 1 (1990)
Dominik Argento
Six Elizabethan Songs

Samuel Barber
Cello Sonata
Hermit Songs, Op.29
Despite and Still, Op.41
Three Songs, Op.10
Three Songs, Op.45
Knoxville, Summer of 1915

Bela Bartók
Suite paysanne hongroise
Rhapsody No. 1
Piano Quintet

Ludwig van Beethoven
Piano Trio, Op. 70 No. 1 ("Ghost")
Piano Trio, Op.70 No. 2
Piano Trio, Op.97 ("Archduke")
Violin Sonatas: D major, F Major ("Spring"), C Minor, G Major, A Major ("Kreutzer")
Cello Sonatas: G Minor, A Major, C Major, D Major
Variations on "See the Conquering Hero Comes", from Judas Maccabäus, WoO45
Variations on "Ein Mädchen oder Weibchen", from Die Zauberflöte, Op. 66
Variations on "Bei Männern, welche Liebe fühlen", from Die Zauberflöte, WoO46
An die ferne Geliebte, Op. 98

Alban Berg
Sieben frühe lieder

Leonard Bernstein
Serenade for Violin
I Hate Music

Johannes Brahms
Piano Trio in B Major, Op.8
Piano Trio in C Major, Op. 87
Piano Trio in C Minor, Op. 101
Piano Quintet in F Minor, Op. 34
Piano Quartet in G Minor, Op. 25
Piano Quartet in A Major, Op. 26
Trio for Piano, Violin and Horn, Op. 40
Violin Sonata in G Major, Op.78
Violin Sonata in D Minor, Op.108
Cello Sonata in E Minor, Op. 38
Cello Sonata in F Major, Op. 99
Duets, Opp. 20 and 61
Zigeunerlieder, Op. 103
Clarinet Sonata in F Minor, Op.120 No. 1
Vier Ernste Gesänge, Op.121
Clarinet Trio in A Minor, Op. 114

Benjamin Britten
Les Illuminations, Op. 18
Tit for Tat
Winter Words
Canticle II ("Abraham and Isaac")
On This Island
Holy Sonnets of John Donne

Eldin Burton
Sonatine for Flute

Ernest Chausson
Piano Quartet in A Major, Op. 30

Frédéric Chopin
Cello Sonata, Op.65

Aaron Copland
12 Poems of Emily Dickinson
Old American Songs
Violin Sonata
Duo for Flute and Piano

Claude Debussy
Cello Sonata
Violin Sonata
Fêtes Galantes I
Proses lyriques
Chansons de bilitis
Ariettes Oubliees

Erno Dohnányi
Piano Quintet No. 2 in E-flat Minor, Op. 26

Antonin Dvorak
Piano Quintet in A Major, Op.81

Georges Enesco
Cantabile and Presto

Manuel de Falla
Siete canciones populaires

Gabriel Faure
Piano Quartet in C Minor, Op. 15
Violin Sonata No. 1 in A Major, Op. 13

César Franck
Violin Sonata in A Major

Paul Hindemith
Oboe Sonata

Lee Hoiby
Quintet for Piano and Winds

André Jolivet
Chant de Linos

Libby Larsen
Try me, Good King

Charles Martin Loeffler
4 Poems (with Viola & Mezzo-Soprano)

Gustav Mahler
Ruckert Lieder

Felix Mendelssohn
Piano Trio in C Minor, Op.66
Cello Sonata in D Major, Op. 58
Violin Sonata in F Major (1838)

Wolfgang Amadeus Mozart
Quintet for Piano and Winds in E-Flat Major, K. 452

Modest Mussorgsky
Songs and Dances of Death

Francis Poulenc
Sextet for Winds and Piano
Trio for Oboe, Bassoon and Piano
Flute Sonata
Oboe Sonata
Clarinet Sonata
Le Bestiaire
Fiançailles pour rire

Sergei Prokofiev
Cello Sonata
Flute Sonata
Violin Sonata in F Minor

André Previn
4 Songs (with Cello and Soprano)

Roger Quilter
To Julia

Sergei Rachmaninoff
Cello Sonata, Op. 19
Six Songs, Op.38

Maurice Ravel
Piano Trio in A Minor
Violin Sonata
Histoires Naturelles

Joaquín Rodrigo
Quatro Madrigales Amatorios

Carlos Salzedo
Harp Sonata

Peter Schickele
Serenade for Three

Paul Schoenfield
Clarinet Trio

Franz Schubert
Selected Lieder
Sonata in A Minor ("Arpeggione")
Quintet in A Major ("Trout")
Variations on "Trockne Blumen" for Flute and Piano

Robert Schumann
Piano Quintet, Op.44
Dichterliebe, Op.48
Liederkreis Op.39
Frauenliebe und leben, Op.42
Adagio and Allegro, Op.70
Fantasiestücke, Op.73
3 Romances, Op. 94

Dimitri Shostakovich
Piano Trio in E Minor
Cello Sonata

Richard Strauss
Violin Sonata, Op. 18
Cello Sonata, Op.5

Igor Stravinsky
Duo Concertante
Suite Italienne
L'histoire du Soldat

Piotr Ilyich Tchaikovsky
Piano Trio in A Minor

Ludwig Thuille
Sextet for Piano and Winds

Joaquin Turina
Poema en forma de Canciones

Ralph Vaughn-Williams
Songs of Travel

Henri Vieuxtemps
Viola Sonata

Richard Wagner
Wesendonk Lieder

Hugo Wolf
Mignon Lieder

Charles Marie Widor
Suite for Flute and Piano

Alexander von Zemlinsky
Piano Trio, Op.3