When Harry Bicket assumed the artistic directorship of The English Concert in 2007, one of his missions was to bring the baroque chamber orchestra back to the operatic literature that represented some of the highest points of the music of the 18th century.
Author: Jeremy Geffen
Jeremy Geffen has served as director of artistic planning at Carnegie Hall since March 2007. In this position, his responsibilities include program planning and development, as well as the creation of a wide range of audience education programs. Prior to his appointment at Carnegie Hall, Jeremy was vice president of artistic administration for the Saint Louis Symphony Orchestra (2005–2007) and artistic administrator of the New York Philharmonic (2000–2005). In addition, he worked for the Aspen Music Festival and School as associate artistic administrator from 1998 to 2000. During that time, he also taught courses in music at Colorado Mountain College, hosted a weekly classical music radio show on KAJX, and became the Aspen Institute’s youngest-ever moderator, creating and leading the seminar The Marriage of Music and Ideas with Dr. Alberta Arthurs in February and March 2000.
Jeremy currently serves on the advisory entities for both the Chamber Music Society of Lincoln Center’s CMS Two and the Avery Fisher Career Grant. He has also served as an adjudicator for numerous auditions and competitions, including the jury of the 2015 Honens Prize, the 2011 Wigmore Hall / Kohn Foundation International Song Competition, the nominating jury for the 2012 Pulitzer Prize in Music, and the Metropolitan Opera National Council Auditions. In addition, he chaired the nominating jury for the 2013 Pulitzer Prize in Music. In June 2015, Jeremy received Bang on a Can’s Visionary Award for his contributions toward new music.
While pursuing a bachelor of music degree in viola performance at the University of Southern California, Jeremy developed problems with his right hand that led him away from performance and into artistic programming, which combines his curiosity for and love of the breadth of the classical repertoire, as well as the artists who bring that repertoire to life.
Perhaps one of the reasons South African-born and Australian- and American-trained fortepianist Kristian Bezuidenhout isn’t better known in the U.S. is concern over how to correctly pronounce his name, but there are few if any fortepianists before the public today who make such a strong argument for the exploration of this instrument and how it eventually developed into the modern piano.