Upcoming Concerts

Satie's "Vexations" at the Guggenheim Museum

Wednesday 27, September 2017 ( 8 30 am )

Solomon R. Guggenheim Museum
1071 Fifth Avenue
New York City

On the occasion of Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897, the Guggenheim presents a durational concert featuring Erik Satie’s Vexations (1893). Observing one of Satie’s instructions literally, this one-page piano work is to be repeated 840 times, lasting for almost 19 hours in an unprecedented serial undertaking that anticipated the Minimalist and Conceptual concerns of the 1960s. I will be one of several pianists performing this work continuously at the Guggenheim between September 26 at 7 pm and September 27 at 1 pm,  with my three slots occurring from 8:40-9:00 AM, 10:20-10:40 AM, and 1:00-1:20 PM on September 27th.

Concerto Appearance with the Princeton University Symphony Orchestra

Friday 20, October 2017 ( 7 30 pm )

The Princeton University Symphony Orchestra
Michael Pratt, Music Director
Richardson Auditorium
Princeton University

Beethoven:  Concerto No. 4 in G Major, Op. 58

Concerto Appearance with the Princeton University Symphony Orchestra

Saturday 21, October 2017 ( 7 30 pm )

The Princeton University Symphony Orchestra
Michael Pratt, Music Director
Richardson Auditorium
Princeton University

Beethoven:  Concerto No. 4 in G Major, Op. 58

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Press Reviews

"Mr. Burleson played with command, projecting a rhapsodic quality without loss of rhythmic vigor...and an appropriate sense of fetching color. Burleson played vibrantly...ending his program with a compelling account of Boulez's formidably complex Piano Sonata No. 3."
- Anthony Tommasini, The New York Times

"Burleson gave an irresistably supple reading of Liszt's "Les jeux d'eaux a la Villa d'Este", and in his performance of Debussy's "Pour le piano", the Sarabande was delightfully hazy, and the Toccata was an explosion of energy. He followed this with Saint-Saens's expansive "Caprice on Ballet Airs From Gluck's 'Alceste'" before closing the concert with three of his own virtuosic, lively, occasionally jazzy improvisations on a handful of Debussy themes."
-Allan Kozinn, The New York Times

"Both works (Charles Ives's 'Three-Page Sonata' and Vincent Persichetti's Sonata No. 12) are couched in complex rhythms, with attractively simple melodies sometimes swimming through them. And Mr. Burleson played them with the energy and passion of a jazz player at the densest moment of a solo. He brought a similar power, as well as an improvisatory imagination, to Frank Zappa's 'Bebop Tango.'"
- Allan Kozinn, The New York Times

"Burleson is a remarkable pianist, with tireless attack, unflagging rhythm and energy to burn."
- Richard Dyer, The Boston Globe

"A top-notch pianist...Burleson's piquancy and poetry blended beautifully."
- The Washington Post

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Featured Releases

Saint-Saëns, C.: Piano Works (Complete), Vol. 4: Dances And Souvenirs

Saint-Saëns, C.: Piano Works (Complete), Vol. 4:  Dances And Souvenirs - Naxos, Catalogue No: GP625, released on 02/2016

Naxos, Catalogue No: GP625, released on 02/2016

Order online "Saint-Saëns, C.: Piano Works (Complete), Vol. 4: Dances And Souvenirs"

Artists

Geoffrey Burleson, piano

About Saint-Saëns, C.: Piano Works (Complete), Vol. 4: Dances And Souvenirs

Although he is best remembered for his orchestral and instrumental music, Saint-Saëns was also responsible for spearheading the revival of the French Baroque, especially the music of Lully and Rameau, as well as being perfectly placed to absorb the latest instrumental dance music. His five ‘character waltzes’ include the ethereal and ravishingly textured Valse mignonne, the stylistically forward-looking Valse nonchalante and the virtuosic Valse gaie, the composer’s final waltz for solo piano, while the three minor key Mazurkas are strongly characterised and filled with ingenious musical contrasts. Last but not least, the three ‘souvenirs’ are delightful evocations of particular corners of the world that inspired Saint-Saëns.

"Burleson has immersed himself in the entirety of Saint-Saëns' output and is a powerful advocate for this music.  He plays with all the requisite technique and a style and flair that one would expect from music firmly entrenched in the romantic style.  His booklet notes are enlightening, and the piano sound is wonderful.  I am sure that I will also enjoy the future volumes in this series."

-James Harrington, American Record Guide

 

selected recordings