David Wolfson holds a PhD in composition from Rutgers University, and has taught at Rutgers University, Montclair State University and Hunter College. He is enjoying an eclectic career, having composed opera, musical theatre, touring children’s musicals, and incidental music for plays; choral music, band music, orchestral music, chamber music, art songs, and music for solo piano; comedy songs, cabaret songs and one memorable score for an amusement park big-headed-costumed-character show. You can find more information here.
The Cleveland Orchestra and Franz Welser-Möst turn in a mixed program in two senses at Carnegie Hall, with repertoire spanning over three centuries and performances that range from the sublime to the tedious.
Igor Levit's pianissimo playing is the highlight of his Brahms, but for all its vaunted acoustics, Carnegie Hall is sometimes not kind to concerto soloists.
The Knights consistently put on some of the most interesting classical concerts in New York. Friday night’s offering at the 92nd Street Y was no exception.
In New York Philharmonic debuts, Rakitina and Zhang deliver a thoughtful version of Rachmaninov's Second Piano Concerto, mostly shorn of sentimentality – a fresh look from young eyes.
Gustavo Dudamel conducts the New York Philharmonic in a program of Robert Schumann’s symphonies that was notable for drive and energy, plus a Gabriela Ortiz premiere honoring Clara Schumann.
The Vienna Philharmonic Orchestra and Yannick Nézet-Séguin gave a rendition of Tchaikovsky’s Pathetique, in solidarity with the people of Ukraine, that was by turns anguished, lyrical, savage and subtle.
A premiere and a rarity cap New York Philharmonic’s mini-festival “Authentic Selves: The Beauty Within” created in partnership with Artist-in-Residence, countertenor Anthony Roth Costanzo.
The Royal Philharmonic Orchestra concluded its American tour— the first such tour by an international orchestra since March of 2020— with a heartwarmingly effective concert at Carnegie Hall.
The New York Philharmonic resumed its laudable “Project 19” with a world premiere by Joan Tower, along with a Mozart piano concerto and Dvořák’s Seventh Symphony.
Recently recovered from emergency brain surgery, the popular conductor stepped back onto the podium with the New York Philharmonic this weekend in performances that ranged from the skilled to the sublime.
After 572 dark days, there was music on the stage of Carnegie Hall. Yannick Nézet-Séguin conducts the Philadelphia Orchestra in a jubilant program, culminating in a blistering Beethoven’s Fifth.
Death of Classical’s presentation of Gil Shaham and The Knights playing a “Pocket Edition” of Beethoven’s Violin Concerto at Green-Wood Cemetery strove for a festive feel, and did admirably at fulfilling that promise
Three of the pieces that Louis Langrée conducted in his New York Philharmonic debut concerts were similarly atmospheric and impressionistic, stealing each other’s thunder. Happily, the Scriabin was cathartic.
Ellen Reid’s evocative new work and Renée Fleming’s set of songs from her album “Distant Light” were the highlights of a program that included an uninspiring Bruckner Fourth Symphony.
Janine Jansen and the New York Philharmonic gave a transcendent, once-in-a-lifetime performance of the Brahms Violin Concerto. Tania Leòn’s new work and a Strauss suite paled in comparison.
