Upcoming Concerts

Concert with SWARMIUS

Monday 30, May 2016 ( 6 00 pm )

Featuring works of Jozefius (aka Joseph Martin Waters), with Jozefius on electronics, Saximus (aka Todd Rewoldt) on reeds, Noize Punkus (aka Gene Pritsker) on guitar, and Peripateticus (aka Geoffrey Burleson) on piano.

Cornelia Street Café
29 Cornelia Street
New York, NY  10014


Solo and Chamber Music with Composers Concordance

Friday 17, June 2016 ( 6 30 pm )

"Happy Birthday, Otto Luening!"
Solo works by Roy Harris & Dave Soldier
Chamber works (piano 6 hands) by Otto Luening, George Boziwick, Svjetlana Bukvich, Gloria Coates, Patrick Hardish & David Shohl, with pianists Jai Jeffryes & Eduard Laurel

Faust Harrison Pianos
207 West 58th Street
New York City

Solo Recital at Fondation des États-Unis, Paris

Sunday 26, June 2016 ( 5 00 pm )

Grand Salon Fondation des États-Unis
15 boulevard Jourdan
Paris, France

Works of Saint-Saëns (including the EUROPEAN PREMIERE of his Fantaisie sur l’Étoile du Nord de Meyerbeer), Ravel, Roy Harris, David Rakowski, Frank Zappa & Geoffrey Burleson

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