Upcoming Concerts

Satie 150: A Hunter College Piano Department Celebration of Erik Satie's 150th Birthday

Tuesday 10, May 2016 ( 5 30 pm )

Lang Recital Hall
Hunter College of CUNY
presented by
The Hunter College Music Department

Featuring performances by Hunter College Music Department Piano Faculty and Students.  I will be giving the New York premiere of my own solo piece, "Lettres Dansantes:  Hommage à E. Satie."  The program will also include Satie's "Cinema", for piano 4-hands, with a live screening of the René Clair surrealist film "Entr'acte" (1924)

Duo Appearance with Soprano Susan Gonzalez

Wednesday 18, May 2016 ( 8 00 pm )

Lang Recital Hall
Hunter College of CUNY
presented by the
New York Opera Alliance Operafest 2016

Jake Heggie's "At the Statue of Venus", a monodrama for voice & piano

"Voice Of Thunder: Vocal Music By Percussionist-Composers" with the American Modern Ensemble

Thursday 26, May 2016 ( 7 30 pm )

"Voice Of Thunder:  Vocal Music By Percussionist-Composers" with the American Modern Ensemble

Merkin Concert Hall
129 W. 67th St.
New York, NY  10023

ChamberMusicNY presents AME in an evening of vocal works by composers who are (or were) percussionists.

Program
Andy AkihoNO one To kNOW one
Robert BeaserHills, Woods, Brook: Three Love Songs
Warren BensonThree Solitary Songs
David T. LittleTwo Mothers Arias from Dog Days
Robert PatersonSummer Songs
Marta PtaszynskaLiquid Light for Mezzo-soprano

more concerts

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

more reviews

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 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

 

selected recordings