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Oakland Winterfest: Michael Stephen Brown, piano

  • Varner Recital Hall 371 Varner Drive Rochester, MI, 48309 United States (map)

Following on the heels of his popular CameraMusic online performance in early 2022, Michael Stephen Brown makes his live concert debut at Chamber Music Detroit, as he prepares for a rare solo recital appearance at the Chamber Music Society of Lincoln Center in New York. The program is all about connection, featuring music by Mendelssohn, Von Schauroth, Haydn, Ravel, Debussy, and a work by Michael himself, “Breakup Etude for Right Hand.”

PROGRAM

Haydn Fantasia in C major for Keyboard, Hob. XVII:4, “Capriccio”
Debussy Hommage à Haydn
Ravel Menuet sur le nom d’Haydn
Michael Stephen Brown Etude-Fantasy on the name of Haydn
Ravel Miroirs
von Schauroth Selections from Songs Without Words, Op. 18
Mendelssohn Fantasie in F-sharp minor, Op. 28
Michael Stephen Brown Breakup Etude for Right Hand Alone (2020)
Felix Mendelssohn/Rachmaninov Scherzo from A Midsummer Night’s Dream (1842, arr. 1933)
Felix Mendelssohn/Liszt Wedding March in C major from A Midsummer Night’s Dream (arr. Brown)

one of the leading figures in the current renaissance of performers-composers.
— The New York Times

ABOUT THE ARTISTS

Winner of a 2018 Emerging Artist Award from Lincoln Center and a 2015 Avery Fisher Career Grant, pianist Michael Brown has been praised for his “fearless performances” by The New York Times. He has recently performed as soloist with the Seattle Symphony, the National Philharmonic, and the Grand Rapids, North Carolina, New Haven, and Albany symphonies; and in recital at Carnegie Hall, the Mostly Mozart Festival, and Caramoor. He is an artist of the Chamber Music Society of Lincoln Center, performing frequently at Alice Tully Hall and on tour. Mr. Brown was selected by András Schiff to perform on an international tour making solo debuts in Berlin, Milan, Florence, Zurich’s Tonhalle, and New York’s 92nd Street Y.   Also a composer, Michael Brown has been hailed as “one of the leading figures in the current renaissance of performer-composers” by The New York Times.