 The career of pianist Jeffrey Biegel has been marked by bold, creative achievements and highlighted by a series of firsts.
He performed the first live internet recitals in New York and Amsterdam in 1997 and 1998, enabling him to be seen and heard by a global audience. In 1999, he assembled the largest consortium of orchestras (over 25), to celebrate the millennium with a new concerto composed for him by Ellen Taaffe Zwilich. The piece, entitled 'Millennium Fantasy for Piano and Orchestra', was premiered with the Cincinnati Symphony Orchestra. In 1997, he performed the World Premiere of the restored, original 1924 manuscript of George Gershwin's 'Rhapsody in Blue' with the Boston Pops. Charles Strouse composed a new work titled 'Concerto America' for Biegel, celebrating America and honoring the heroes and events of 9-11. Biegel premiered the piece with the Boston Pops in 2002. He transcribed the first edition of Balakirev's 'Islamey Fantasy' for piano and orchestra, which he premiered with the American Symphony Orchestra in 2001, and edited and recorded the first complete set of all '25 Preludes' by Cesar Cui.
Currently, he is assembling the first global consortium for the new 'Concerto no. 3 for Piano and Orchestra' being composed for him by Lowell Liebermann for 2005-06-07. The World Premiere will take place with the Milwaukee Symphony Orchestra, conducted by Andreas Delfs on May 12-14 2006, followed by the European Premiere with the Schleswig Holstein Symphony Orchestra, conducted by Gerard Oskamp, February 6-9, 2007.
Biegel is currently on the piano faculty at the Brooklyn Conservatory of Music at Brooklyn College, at the City University of New York (CUNY) and the Graduate Center of the City University of New York (CUNY).
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Monday, June 13, 2005
Cliburn, Internet, and the Future
A very well said summation from John von Rhein and my letter to him personally below:
Dear Mr. von Rhein,
Your article concerning the the post-Cliburn reality is a wonderful summation indeed. The music world and its opportunities for young artists have indeed evolved into an existence a bit different from the ones we remember after earlier Cliburn events. Due to the changes of worldwide demographics and audience attendance, not to mention the technological diversions from the concert halls, the realities for these young artists and their eventual need to network and soul search is ever more a reality than in years gone by. I hope many pianists (and instrumentalists) will read your article, as it is an honest lesson to be learned for many attempting to secure a recognizable career stronghold in the 21st century world of music.
I was happy to read your reference to the first time the Cliburn event utilized live audio and video--I was the first to use this technology back in 1997 in a first live audio and video streaming recital on two occasions: in New York's Steinway Hall on July 8 and 25, 1997, and during the following season for the first European event from Amsterdam for a Netherlands based internet company pushing their streaming technology. It was an idea I had to help broaden the 21st century audience addicted to the internet, to bring a classical piano recital directly to them in the privacy of their own home (and/or office). Peter Goodrich, Director of Concert and Artists Services, remarked that it was ahead of its time when the Steinway event was produced, but it did indeed prove the technology worked (despite a delayed glitch on the first run on the July 8 cybercast). I still envision recitals and symphony orchestra subscription series being available online (for a nominal fee to 'attend') which will eventually assist the orchestras and concert series in their online revenue to stay afloat. From what I have witnessed during my travels (although my concerts have been well attended), this is something that may eventually become necessary due to a declining attendance amongst younger attendees. The internet might not be the same as the 'live' concert hall experience, but with enhanced home theatre on the rise, home concert attendance might become a fine adjunct to the 'live' concert hall attendance.
I hope to have the pleasure to play again in the Chicago area. In the interim, please feel free to visit my web site www.cyberecital.com. Once the premiere of the Lowell Liebermann Third Piano Concerto has occurred next May in Milwaukee (and will be followed by 17 other orchestras performing the work with me as far as Europe), I am sure the new concerto will be pitched to the Chicago area.
With very kind regards,
Jeffrey Biegel
posted by Jeffrey Biegel
6:51 AM
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