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).

Visit Jeffrey Biegel's Web Site
Tuesday, December 12, 2006
Naoumoff's 'Pictures' is dynamite!

The ever brilliant and resourceful maestro Leonard Slatkin introduced a rare find to me: pianist Emile Naoumoff's transcription for piano and orchestra of Mussorgsky's "Pictures at an Exhibition". Naoumoff provides a wonderful case for this work which sounds fine for solo piano, or solo orchestra--however, he felt, as do I, that the piece screams for collaboration for the piano and the orchestra. Maestro Slatkin suggested I explore this piece, and I am glad I did. I have the cd of Naoumoff performing the work and Boosey and Hawkes houses the score and parts. The Naoumoff cadenzas are quite fine, and give ample opportunity for the pianist to expand some of the motivic material. The dialogue between piano and orchestra is well done. It allows both parties to have their share of the piece comfortably. Personally, I would like very much to include this in my repertoire, and will do my best to share this with conductor friends.