Friday 08, July 2016 ( 9 30 pm )
InterHarmony International Music Festival
Teatro degli Unanimi
Piazza Cavallotti, Arcidosso GR, Italy
Artist Faculty Recital
Roy Harris: Sonata per pianoforte, Op. 1 (1928)
Monday 18, July 2016 ( 8 00 pm )
The International Keyboard Institute & Festival at Hunter College
East 68th Street between Park & Lexington Avenues
New York City
Saint-Saens: Fantaisie sur Lohengrin de Wagner (1859)-WORLD PREMIERE
Saint-Saens: from 6 Etudes, Op. 52:
No. 1: Prelude-Con bravura
No. 2: Pour l'indépendance des doigts
No. 3: Prélude et fugue en fa mineur
Liszt: Transcendental Etude No. 10
Liszt: Transcendental Etude No. 11, "Harmonies du Soir"
Roy Harris: Piano Sonata (1928)
David Rakowski: Two Études
Dorian Blue (Étude #72) (2006)
Ain't Got No Right-Étude for the Left Hand (#67) (2005)
Isidor Phillipp: Feux-follets (1952)
Erik Satie: Véritables préludes flasques (1912)
Frank Zappa/arr. Burleson: BeBop Tango
Saturday 24, September 2016 ( 8 00 pm )
David Rakowski: Arabesques I Have Known, for sextet - WORLD PREMIERE
George Perle: Critical Moments 2, for sextet
~ The program will also feature Pierre Boulez's Le Marteau sans maître, and Yui-hui Chang's solo percussion tour-de-force Binge Delirium~
"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
Naxos, Catalogue No: GP625, released on 02/2016
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 does a wonderful job of honoring the 'dance roots' of these selections. One can actually dance to this music, and it is too bad that more imaginative choreographers have not been inspired by it. All too often, pianists who take on the dance forms set by Frédéric Chopin tend to push any sense of dance to the side to avoid it interfering with the display of virtuoso piano technique. Saint-Saëns’ piano music has its own share of technical challenges; but through Burleson’s approaches to execution, one comes away with a clear sense that Saint-Saëns took the titles he assigned to those pieces seriously. Burleson plays as if he believes that there is real substance to what he is playing; and the attentive listener is likely to agree with him."
-Stephen Smoliar, Examiner.com