Professor
480-965-4254
walter.cosand@asu.edu
Walter Cosand, pianist and Professor of Music at Arizona State University, studied at Eastman School of Music with Cecile Genhart and Barry Snyder. He also studied with Joerg Demus in Europe on a grant from the DAAD. He has won several significant awards including the Eastman Concerto Competition, the grand prize from the International Piano Recording Competition and grants from the National Endowment for the Arts.
He has been favorably reviewed in the New York Times, the San Francisco Chronicle, the Arizona Republic, and several music periodicals. In addition to playing throughout the United States, he has performed in Australia, Asia, Canada, Russia and Europe. An experienced recitalist and chamber music performer, he has also performed thirty different concertos. He has commissioned new music from William Albright, William Bolcom, David Diamond and Rodney Rogers. He has been heard on National Public Radio, the Australian Broadcasting Corporation, Bayerischer Rundfunk, Korean Cable Television, AMD-TV Beijing and Sverdlovsk Radio. In 2004 he played in Weill Recital Hall at Carnegie Hall, New York City. He performed and taught classes at Central Conservatory of Music, Beijing, China, in 2006.
In summers he is on the faculty of MasterWorks Festival, Winona Lake, Indiana. He can be heard on ACA Digital, Advance, ARF, Canyon, Centaur, DPS, JIGU, Koch and Summit recordings. Mr. Cosand is married to violist Patricia Cosand and they have three sons: David, Michael and Steven. Mr. Cosand's former students have won competitions and appeared in concert all around the world. Mr. Cosand is a Steinway Artist.
Baruch Meir
Associate Professor
480-965-3386
baruch.meir@asu.edu
"Baruch Meir is an exceptional artist, he did a beautiful performance of my piano work entitled A LITTLE SUITE FOR CHRISTMASS which was distinguished by a deep musical insights and consummate technical skill. It was certainly one of the very finest performances this work of mine has ever received" (George Crumb, composer; 1968 Pulitzer Prize in Music; 2001 Grammy award; 2004 Musical America "composer of the year").
Pianist Baruch Meir has performed extensively in Austria, China, England, France, Israel, Portugal, Serbia and throughout the United States. Meir has recently presented two solo recitals at the Bösendorfer Saal in Vienna, as well as at the Bauman Auditorium in Portland (Bösendorfer Concert Series), Dixon Hall in New Orleans, Wise Auditorium in Jerusalem, Bates Hall in Austin, Murphy Hall in Los Angeles, and at the Toujours Mozart Festival in Salzburg. In 2008 he performed five recitals for the National Concert Season in Serbia. Currently an Artist/Teacher Associate Professor of Piano at Arizona State University, Meir maintains a busy teaching schedule in addition to his international concert career. In demand as master class clinician, Meir toured Korea\'s most prestigious music schools and universities including Seoul National University, Yonsei, Kookmin, Hanyang, Sunhwa, Kyoungbook and Seoul Arts High School, as well as at the Shanghai Conservatory in China and the middle-school affiliated to the conservatory (2005 & 2007), the Music Academy in Vienna (Austria), the Rubin Academy of Music in Jerusalem (Israel), the Manhattan School of Music in NY and various conservatories and universities in the US.
A native of Israel, Meir is a summa cum laude graduate of the Rubin Academy of Music of Tel Aviv University, where he earned both bachelor and master degrees in piano performance. He holds the Artist Diploma from the Royal College of Music in London, and the Doctor of Musical Arts degree from ASU. His teachers include Rachel Gordon, Valter Aufheuser, Pnina Salzman, Michael Bugoslavsky, Irina Zaritskaya and Robert Hamilton. Meir\'s distinctions include the American-Israel Cultural Foundation Awards, the British Council fellowship, 1st place at the Klatzkin Competition for contemporary piano music and the ASU concerto competition, and additional awards in piano competitions worldwide. Dr. Meir is the Founder, President & Artistic Director of the Bösendorfer & Schimmel USASU International Piano Competitions which he organized through a partnership between the Arizona Young Artist Committee, The Herberger College School of Music and the European Bösendorfer and Schimmel piano co!
mpanies.
At Arizona State University, professor Meir maintains a class of outstanding pianists from all over the world. His students were awarded more than 43 prizes in various competitions within the past several years, including 1st Prize at the 2008 Schimmel USASU International Senior Piano Competition for Young Pianists, 1st Prize at the Young Concert Artist International Competition, and the 1st Prize at Washington International Piano Artists Competition, to name only a few. His students regularly participate in summer music festivals throughout the US and Europe including Aspen, Adamant, Brevard, Schlern, TCU/Cliburn Institute, IIYM, Prague, New- Paltz, Wasserman, Mannes and Tel-Hai. In July 2009, Meir will join the piano faculty at Musicfest Perugia in Italy as Director of the Piano Institute
Caio Pagano
Regent's Professor
480-965-4622
caio.pagano@asu.edu
Caio Pagano is an internationally renowned concert pianist, teacher and scholar. He is a distinguished professor of piano at Arizona State University since 1986 having earned the honor of Regent Professor of Piano at this institution. He is the recipient of many piano performance awards in Europe and in his native country, Brazil.
Pagano has performed throughout four continents in more than 600 public performances as recital soloist, chamber musician and as soloist with orchestras. He has premiered 24 works in concert halls worldwide, 16 of these were works written and dedicated to him by the composers, including several concertos for piano and orchestra. He has also recorded several of these works. Pagano was the first pianist to perform the complete works of Schoenberg in several capitals of the world.
Among the remarkable premieres was the performance of Pousseur's Apostrophe, along with Beethoven's Diabelli variations in Washington D.C. and New York City, which received following reviews: "The Pousseur was transcendent, and Beethoven was absolutely first-class, simultaneously idiomatic and original"(The New York Times). "I started jotting comments after each variation, but I abandoned that as I realized I was being presented with a conception that was an incandescent entity"(the Washington Post). Pagano, who is regularly featured on radio including recent highlights on National Public Radio USA, has regularly appeared in the BBC in London, Norddeutsche Rundfunk in Germany, Voice of America in Washington D.C., Radio Hilversum in Holland, Radio de la Suisse Romande in Switzerland and National Broadcasting in Portugal to name just a few.
As Professor at the University of São Paulo, Brazil, Caio created the International Biennial of Music, which attracted many internationally acclaimed artists who collaborated with him (including Saschko Gawriloff, Cristof Caskel, Raphael Hillyer, Werner Taube, Henry Schuman). He also toured with Pierre Fournier, Janos Starker, Thomas Friedli, Szymon Goldberg, Albor Rosenfeld, the St.Petersburg Quartet, Maria João Pires, Gerard Caussé and the Jacques Thibaud Trio. Caio has been a featured artist at the Miami New World Festival, the Washington Interamerican Fest, the Grenoble Festival, the Megève Festival, the Montpellier Festival and many others.
In partnership with Maria João Pires, Pagano created the Centre for Studies of the Arts in Portugal (www.belgais.net). He recorded with her "Sounds of Belgais", for DGG.
Summit, Soundset, Deutsche Grammophon and Glissando labels publish his acclaimed recordings. His latest CD, Music for Children by Heitor Villa-Lobos has received rave reviews which have included "CD of the month" by BBC Music Magazine, and other magnificent reviews on Gramophone (Great Britain), CD Compact (Spain) and Fanfare (USA).
Caio Pagano combines a profound knowledge of the Arts, Literature and Music, which characterizes his interpretations as authoritative and unique. His transcendent technique is accompanied by exuberant lyricism, intellect and a polished sense of style. The Washington Post's reviewer, Joseph McLellan, may have summed it up the best: "Pagano is such a fine performer that any opportunity to hear him should be seized" Pagano is an honorable Steinway Artist.
Andrew Campbell
Associate Professor, Director of the Collaborative Piano Program
Phone: 480.965.9525
Fax: 480.965.2659
Specialty: Keyboard, Collaborative Piano
E-mail: acampbell@asu.edu
Web Page: http://music.asu.edu
Bio:
Andrew Campbell has established himself as one of the most versatile collaborative pianists in the United States with a performing career that has taken him to four continents. He has performed in duo recitals with such artists as violinist Chee-Yun, flutist Thomas Robertello, composer Bright Sheng, and tenor Anthony Dean Griffey, with whom he has also collaborated on several operatic productions. He has served as opera rehearsal pianist for such distinguished conductors as André Previn and Plácido Domingo, and has worked closely with the composer Carlisle Floyd on several productions of his operas. Chamber music performances have taken him to distinguished venues including Weill Recital Hall at Carnegie Hall, where The Strad and Strings magazines both hailed his performance as "excellent." His partnership with violinist Katherine McLin in the McLin/Campbell Duo and McLin and clarinetist Robert Spring in Trio del Sol has led to performances on numerous recital series throughout the United States and Europe. He has recorded several CDs on the Summit and Centaur labels, and his performance of the Rachmaninoff cello sonata with bassist Catalin Rotaru was cited for special praise by Bass World and XBass, two leading international journals. As an orchestral pianist, he has performed with many ensembles including the Phoenix Symphony, the Columbus Pro Musica Chamber Orchestra, and the San Diego Symphony, working with notable conductors including Keith Lockhart, David Effron, and Michael Christie. He has appeared as collaborative pianist at numerous international conferences, including the International Double Reed Society, National Flute Association Convention, MTNA and the Society for American Music.
Dr. Campbell graduated Phi Beta Kappa and Pi Kappa Lambda in History and Piano from Oberlin College and Conservatory and earned his MM in Piano Performance from Indiana University. He received the Doctorate in Piano Chamber Music and Accompanying from the University of Michigan where he studied with the renowned collaborative artist Martin Katz. While at Michigan he served as Opera Coach/Continuo performer for the Opera Theater. Dr. Campbell spent several summers at the Aspen Music Festival as a fellowship pianist for the Vocal Concert Studies program and staff pianist for the violin studio of Paul Kantor. He was a national prizewinner in the MTNA Wurlitzer Collegiate Artists solo piano competition.
Dr. Campbell is currently Director of the Collaborative Piano Program at the Arizona State University School of Music and is an occasional member of the music staff for the San Diego Opera. During the summer season, he serves on the Artist Faculty of the Taos Opera Institute. Previous positions include Director of the Collaborative Piano Program at the Brevard Music Center in North Carolina, music staff for the Washington National Opera, and Music Director and Pianist for the San Diego Opera Ensemble.
Robert Hamilton
Professor
Phone: 480.965.3379
Fax: 480.965.2659
Specialty: Keyboard, Piano
E-mail: robert.hamilton@asu.edu
Web Page: http://music.asu.edu
Bio:
Internationally respected pianist and recording artist Robert Hamilton has had the unusual distinction of being enthusiastically reviewed by two chief music critics for The New York Times. Harold C. Schonberg (who also authored The Great Pianists) wrote: “He is a very fine artist. All of Hamilton’s playing has color and sensitivity…one of the best of the million or so around.” And Donal J. Henahan reported: “It was an enthralling listening experience. We must hear this major talent again, and soon!”
Mr. Hamilton’s performance career beginnings were comparatively modest, but varied. Fluent as a high school student on three instruments – piano, clarinet and bassoon – he performed five standard concerti representing his three solo areas. He studied at Indiana University with the first winner of the coveted Levintritt award, Sidney Foster, and graduated summa cum laude. A move to New York City brought studies with Dora Zaslavsky of the Manhattan School, additional coaching from legendary pianist Vladimir Horowitz, and a host of monetary awards from the Rockefeller Fund and U.S. State Department, launching a strong career here and abroad. Five prizes in major international competitions added more concerts and opportunities.
Hamilton has made countless concert tours of four continents, appearing in the major halls of most music capitals. His orchestral engagements have included the Chicago Symphony, National Symphony, St. Louis Symphony, Milwaukee Symphony, Phoenix Symphony, Indianapolis Symphony, Grant Park Symphony, Chautauqua Symphony and S.O.D.R.E. An appearance at the great hall of the Moscow Conservatory brought a ten-minute standing ovation, and he made an appearance in St. Petersburg that was televised across Russia. Mr. Hamilton has been heard over numerous radio networks including NPR, ABC, BBC London, Voice of America, Armed Forces Network, DRS Zurich and Radio Warsaw. He has recorded for Phillips, Orion and Summit Records. A recent 2004 Summit release brought this comment from Audiophile Audition: “Hamilton has a blazingly brilliant approach to this repertory, delivering very powerful and often breathtaking interpretations. Exposure to these performances will make any future hearing of the works seem pallid.” The American Record Guide added this: “Hamilton’s playing is full of integrity, rare brilliance and grandeur. This is a pianist I would like to have studied with.”
Professor Hamilton’s students have also won many prizes and awards, appearing with orchestras around the world that include the Indianapolis Symphony, Wichita Symphony, Phoenix Symphony, South Bend Symphony, London Westminster Philharmonic, Orchestre Philharmonie d’Avignon (France), Kammerorchester Dusseldorf (Germany), Pazardjik National Orchestra of Bulgaria, Sydney Symphony Orchestra, Nagoya Gakuen Philharmonic (Japan), Korea Symphony Orchestra (Seoul), etc. Frequent solo appearances have occurred in major cities, such as New York, Boston, Chicago, Los Angeles, Madrid, Paris, Munich, Prague, London, Sofia, Tokyo, London and Glasgow. Many of Professor Hamilton’s students have found positions at important music schools in the U.S., Europe and Asia. Others have chosen related fields, such as music criticism with newspapers of the caliber of the Kansas City Star.
Hamilton currently has an exciting class of international students at ASU, and has given master classes throughout the world. Featured in the book The Most Wanted Piano Teachers in the USA, Mr. Hamilton also served as Artistic Director of the London Piano Festival during the 1990s. Since the year 2000, he has joined with Vladimir Feltsman and a distinguished group of prominent international pianists each July for PianoSummer in New York. Robert Hamilton is an official Steinway Artist.
Kimberly Marshall
Goldman Professor of Organ
Phone: 480.965.1227
Fax: 480.965.2659
Specialty: Keyboard, Organ
E-mail: kimberly.marshall@asu.edu
Web Page: http://music.asu.edu/organ/
Bio:
Kimberly Marshall maintains an active career as a concert organist, performing regularly in Europe, the US and Asia. She currently holds the Patricia and Leonard Goldman Endowed Professorship in Organ at Arizona State University, having previously held teaching positions at the Royal Academy of Music, London, and Stanford University, California. Winner of the St. Albans Competition in 1985, she has been invited to play in prestigious venues and has recorded for Radio-France, the BBC, and the Australian Broadcasting Corporation.
A native of Winston-Salem, North Carolina, she began her organ studies with John Mueller at the North Carolina School of the Arts. Her early interest in French music took her to France where she worked with Louis Robilliard and Xavier Darasse before returning to North Carolina to complete her undergraduate studies with Fenner Douglass.
Following her victory at St. Albans, Kimberly Marshall was invited to play throughout Europe, including concerts in London's Royal Festival Hall and Westminster Cathedral, King's College, Cambridge, Chartres Cathedral, Uppsala Cathedral, and the Dormition Abbey in Jerusalem. She has also performed on many historical organs, such as the Couperin organ at Saint-Gervais, Paris, the Gothic organ in Sion, Switzerland, and the Cahmann organ in Leufstabruk, Sweden. She especially enjoys tailoring programmes to the styles of the instruments she plays, as is evident from her recordings of Italian and Spanish music on historical organs. Her playing is informed by research into obscure repertoire and by a knowledge of performance practice, although she does not limit herself to early music. While at Stanford and the Royal Academy of Music, she gave performances of organ works by Ligeti in the presence of the composer, and she has been an advocate for music by Margaret Sandresky, Dan Locklair and Ofer Ben-Amots. She is attracted to the organ by its vast possibilities of timbre and by the instrument's complex development since its invention in the third century BCE. Her work reflects this enthusiasm for musical creativity and historical awareness.
In 1986, Kimberly Marshall received the D.Phil. in Music from the University of Oxford. Her thesis, Iconographical Evidence for the Late-Medieval Organ, was published by Garland in 1989. More recently, she has developed this work in several articles and lecture/presentations and the CD recording "Gothic Pipes." She has lectured on her research for the American Musicological Society, the Royal College of Organists, and the Berkeley Organ Conference. In recognition of her work, Kimberly Marshall was awarded a Fulbright Scholarship to continue her research and teaching during 1991 at the Sydney Conservatorium in Australia. Her edition of articles on female traditions of musicmaking, Rediscovering the Muses, was published by Northeastern University Press in 1993, and she contributed entries for the Grove Dictionary of Music 2000 and for the Oxford Dictionary of the Middle Ages.
Dr. Marshall's compact disc recordings feature music of the Italian and Spanish Renaissance, French Classical and Romantic periods, and works by J. S. Bach. She has also released a recording of works for organ by female composers, "Divine Euterpe," that includes music by Fanny Mendelssohn Hensel, Elfrida Andrée, and Ethyl Smyth. Kimberly Marshall was a recitalist and workshop leader during many National Conventions of the American Guild of Organists (Dallas, 1994; New York, 1996; Denver; 1998; Seattle 2000, Los Angeles 2004). From 1996-2000, she was affiliated with the Organ Research Center in Göteborg, Sweden, where she taught and performed; under the aegis of GOArt, she organized the conference "The Organ in Recorded Sound," and has edited the proceedings of this, the first-ever conference devoted to sound recordings of the organ. During the summer of 2001, she appeared in Seoul for the Korean Association of Organists and in Toronto for the Convention of the Royal College of Canadian Organists. Her recording of Chen Yi's organ concerto with the Singapore Symphony was released in 2003 on the BIS label, and her anthologies of late-medieval and Renaissance organ music were published by Wayne Leupold Editions in 2000 and 2004.
Kimberly spent the spring of 2005 on sabbatical in Pistoia, Italy, where she researched early Italian organ music and performed on many historical organs, including those in Roskilde Cathedral (Denmark), the St. Laurenskerk, Alkmaar (Netherlands), the Jacobikirche Hamburg, as well as the famous Hildebrandt instrument in Naumburg, Germany, which Bach examined in 1746. During the summer of 2006, she presented concerts and workshops on early music in Sweden and Israel, and she was a featured artist for the 2007 Early English Organ Project in Oxford.
