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Concert Pianist

I am a concert pianist first and foremost. The solo repertoire I am performing or preparing includes J.S. Bach's Well-Tempered Clavier, Beethoven's Piano Sonatas and Diabelli Variations, Debussy's Preludes for Piano, and selections from Rameau, Scarlatti, Haydn, Mozart, Schubert, Chopin, Liszt, Schumann, Tchaikovsky, Brahms, Satie, Ravel, Rachmaninov, and Messiaen. Chamber and vocal repertoire is vast and I have covered much of it with great interest. Constantly in my fingers are the Beethoven Sonatas for Violin, for Cello, his Piano Trios, Piano Quartets, as well as Schumann's and Brahms' sonatas, quartets and quintets, and Debussy's and Ravel's chamber music. My concertos of choice include several by Mozart, those of Beethoven, Schumann, and Ravel. As for more modern and contemporary music, I have done a fair amount (including performing over a dozen world premieres by notable composers such as Shulamit Ran), and I find it very rewarding. But I am still passionately committed to the great music of the past, and perhaps once I will have satisfied my urging to cover the musical monuments I grew up listening to, I will commit more of my time to working on full programs of new or newer music. My curiosity also leads me to explore other genres of music, including flamenco, jazz and blues, pop, Indian classical, Persian, Chinese, and Javanese music, and I am always open to learning new idioms. For me, music is music, and I try to know as much about it as I can, in all its facets. 

I am available for performances anywhere in the world, big or small. Each project and opportunity is unique and my goal is to share music as widely as possible. If an opportunity is meaningful, I will do my best to take it.   

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I love sharing with people what I have learned in my travails as a musician, organiser, and cultural activist. I've given talks to MBA students at the University of Chicago's Booth School of Business about the business of classical music; I've talked to students of the Harris School of Public Policy at the University of Chicago about the state and future of arts institutions (with a focus on music); I've talked to graduate students at the Medill School of Journalism at Northwestern University about effective communication in the arts; I've given presentations on the life and work of Beethoven at public libraries in and around Chicago, as well as on the history of French music from Lully to Debussy; I've presented and been on panels (i.e. the Music Cities Convention in Washington, DC within the Future Of Music Coalition annual gathering), and spoken at "ideas festivals" such as Chicago Ideas Week Co-Op, and Glappitnova. My interests are wide but are all connected by my love of the arts, culture, and music within society, past, present and future. I believe above all that the arts make culture, and that culture makes society, and that a solid social construct brings peace and understanding. I speak to educate, elucidate, and inspire, and am happy to do so for any audience. 

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Teaching is a great responsibility.

I have taught piano to children of all ages and levels, as well as adults, without interruption for the last 12 years, first in Paris then in Chicago. I have always taught privately to allow for more flexibility (my other work and touring makes it difficult for me to be a regular faculty member within an institution). Although I keep a relatively small studio of students every year, I am always open to considering new students. I currently teach from home in Chicago, or via Skype. 

Giving masterclasses is one of my great loves: I find it deeply rewarding to meet a student for the first time, and give them feedback that, despite the short time allotted, may provide critical for their musical understanding and growth. I know from my own experience as a student that magic can happen in a masterclass, and I try to provide my best to each young musician I have the honor of providing feedback to. I have given masterclasses far and wide, from the Central Conservatory of Beijing to the Longy School of Music of Bard College in Cambridge, Massachusetts, and to many college and pre-college students in and around Chicago. 

Coaching is another approach I enjoy, for both individuals as well as chamber groups. In coaching, the main purpose is for the young musician or musicians to get another opinion on matters of interpretation or technique, to serve as both a new challenge and for further support. Coaching relationships are either of short duration (festivals), or are spaced out over the course of months, as schedules allow. 

I also adjudicate competitions on a regular basis.

Working within academic institutions is also second nature to me, having spent a wonderful part of my student years in academia (BA in History and English, Georgetown University; MM in Piano Performance, Northwestern University), which has given me a deep appreciation for research and analysis, while my real life experiences as a performer and organizer have given me unique insights into the practical realities of a musical career. I am always interested in working with students and faculty in universities and conservatories to offer guest classes or work on special projects related to either (or both) historical subject matters (anything to do with Beethoven and/or the development of French music), or concert/festival production and programming. 



Consulting! Yes, my experience in producing critically-acclaimed concerts and multi-disciplinary festivals means I can guide you in your production or festival planning, anything from logistics to programming to design to fundraising strategy and P.R. Please share with me what you are looking for, and we can start a conversation about what it would take to fulfill your vision for a successful and artistically meaningful project.