Friday 06, September 2019 ( 7 30 pm )
Shapeshifter Lab, 18 Whitwell Place, Brooklyn
Music by Max Giteck Duykers
Libretto by Philip Kan Gotanda
Direction by Melissa Weaver
Kelvin Chan, baritone
Kalean Ung, soprano
John Duykers, tenor
Joel Davel, Marimba Lumina
Esther Noh, violin
Christa Van Alstine, clarinet
Geoffrey Burleson, piano
Ben Grow, conductor
Ensemble Ipse will present a workshop of Max Giteck Duykers' new opera Both Eyes Open with support from the Brooklyn Arts Council and the Asian American Arts Alliance. With a libretto by acclaimed playwright and filmmaker Philip Kan Gotanda, the piece is a co-production with the Paul Dresher Ensemble and First Look Sonoma. Both Eyes Open is a comment on the internment of Japanese-Americans during WWII, and takes the form of a series of flashbacks and dreams, with mythological characters and a hyper-real electro-acoustic score. In additional to support from New Music USA and the JFunds Commission, the project recently received a generous grant from the National Parks Service's Japanese-American Confinement Sites Program. Another workshop will be presented at the University of California, Berkeley in the fall of 2019, and in 2020 the piece will be premiered across the U.S. with the Paul Dresher Ensemble near several internment camps, now preserved as historic sites.
Saturday 05, October 2019 ( 8 00 pm )
Edward Pickman Hall
Longy School of Music
Sunday 13, October 2019 ( 7 00 pm )
"El Colibri Magico", composed by Jozefius (aka Joseph Martin Waters), an opera including onstage instrumentalists from SWARMIUS: Saximus (aka Todd Rewoldt), Tempus Rhythmicus (aka Daniel Pate) on percussion, and Peripateticus (aka Geoffrey Burleson) on piano.
"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 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