Pianist Terry Eder To Appear In Recital At Weill Recital Hall

The Key Pianists Series, founded in 2015, will present noted American pianist Terry Eder in recital, Monday evening, April 8, 2019, 8 pm at Weill Recital Hall at Carnegie Hall (154 W 57th St, New York, NY 10019). The complete program follows:

Dohnányi: Intermezzo in F Minor, Op. 2 No. 3
Schubert: Impromptu in F Minor, Op. 142 No. 1 D. 935
Beethoven: Sonata No. 28 in A Major, Op. 101

--Intermission--

Kodály: Méditation (sur un motif de Claude Debussy)
Selections from Piano Pieces Op. 3 and Op. 11
Debussy: Images, Book I
Reflets dans l'eau
Hommage à Rameau
Mouvement
L'isle joyeuse

Tickets at $35 are available for purchase at: https://www.carnegiehall.org/calendar/2019/04/08/terry-eder-piano-0800pm | CarnegieCharge 212-247-7800 | Box Office at 57th St and 7th Ave. Student and senior discount tickets are available at the Box Office.

Key Pianists, now in its fourth season, has already established itself as an unusually successful program, bringing talented musicians to New York who might otherwise not be heard. "An outstanding pianist herself, Terry Eder founded the series to give important players, much admired by their colleagues, more exposure among the general public. I have yet to attend any of these recitals that I did not thoroughly enjoy" -Michael Miller, New York Arts, January 24, 2019.

The internationally lauded American pianist Terry Eder gave her New York debut at Weill Recital Hall in 2004, as a winner of the Artists International competition, of which the late music critic Harris Goldsmith said: "excellent...perceptive...sensitive, idiomatic...convincing and vigorous and reminiscent of Annie Fischer" (New York Concert Review, Summer 2004). When Ms. Eder performed a program of works by Bartók, Schubert, Dohnányi, Schumann, and Liszt at Weill Hall at Carnegie Hall in March 2017, Frank Daykin wrote:

"A musician's musician is the phrase I kept returning to...Terry Eder is a pianist with utter seriousness of conception, beauty of tone, lyrical sensitivity, never any 'grandstanding'...

In the Bartók Improvisations (eight pieces based on Hungarian folk songs), Ms. Eder was absolutely magisterial and inspired, revealing every melody with the appropriate parlando/rubato that was so important to Bartók, and keeping every bit of the often complicated surrounding accompaniment on its own clear level... In Ms. Eder's hands the death-haunted third Improvisation was perfection itself." -New York Concert Review, March 4, 2017

Earlier recitals included performances at Alice Tully Hall at Lincoln Center, Zankel Hall at Carnegie Hall, as well as concerts in Asia, across the United States, and Europe.

Born in Detroit of Eastern European heritage, Ms. Eder showed prodigious musical talent by age four. At 16, she was awarded the Louise Smith Petersen Memorial Award and solo recital at the Detroit Art Institute and was a finalist in the Detroit Piano Technician's Guild/Detroit Symphony concerto competition. Trained at the Oberlin Conservatory and Indiana University School of Music, Ms. Eder was also Associate Instructor at the latter conservatory. After earning her Master of Music with Distinction, Ms. Eder won a research grant from the International Research and Exchanges Board that sponsored her year-long residency at the Franz Liszt Academy of Music in Budapest. There Ms. Eder specialized in twentieth-century piano music by Hungarian composers, working under the tutelage of Zoltán Kocsis. Today she is recognized as an exceptional advocate of the music of Béla Bartók, winning Bartók honors in the IBLA Grand Prize competition and in the International Bartók-Kabalevsky-Prokofiev competition.

Ms. Eder has won many awards of distinction, including several for her interpretations of Beethoven and Ravel, as well as Bartók. Her most recent recording on MSR Classics, featuring the music of Béla Bartók, has garnered stellar reviews from many publications. In Gramophone Magazine, Donald Rosenberg wrote: "Eder limns the richness [of Bartok's music] with a blend of exuberance and attention to detail that lifts the music from the page, as if she were telling a series of fascinating short stories" (February 2016). Ms. Eder teaches in her independent studio in Manhattan, and previously served as Associate Instructor at Indiana University's School of Music and Teacher/Performer at the Colly Soleri Music Center at Arcosanti, Arizona. As a lecturer, Ms. Eder has been invited to such venues as the Kennedy Center in Washington, D.C., the Berklee College of Music in Boston, the New School University, the Yong Siew Toh Conservatory in Singapore, and the Music Educators Association of New Jersey.

Adding to her musical education, Terry Eder earned a Juris Doctorate from Fordham Law School in 1999. As an attorney, she helped to research a book on refugee protection by Arthur C. Helton entitled The Price of Indifference. She practiced law for 12 years, simultaneously with her music career. She is currently on the Advisory Board of the Leschetizky Association and served for several years as a member of the President's Advisory Council of Oberlin College and Conservatory. Ms. Eder was curator of musical events at the art gallery North Of History during the 2018 calendar year. She and her husband, Gene Kaufman, commissioned and produced an opera that premiered in January 2019 at the John Jay Theater as part of the Prototype Festival. For more information, visit her website at www.terryeder.com.

Key Pianists Concert Series was conceived by pianist Terry Eder in 2015 to fill a void in New York concert life: "Many wonderful pianists playing with wisdom, insight, sensitivity and beauty are not heard in New York. These stellar artists, as well as New York audiences, deserve an event to share this extraordinary music-making."

Most recently, pianist Jason Hardink appeared in concert at Weill Hall at Carnegie Hall on February 26, 2019, with an unusually rich and challenging program of 20th-century works by Jason Eckardt, Iannis Xenakis, Olivier Messiaen, and Claude Debussy, complemented by selections from Liszt's Études d'exécution transcendante. Anthony Tommasini wrote:

"Most pianists begin a recital with a piece that allows them to warm up a little, and gives the audience a chance to settle in. Not Jason Hardink. He began his concert on Tuesday at Weill Recital Hall with Jason Eckardt's "Echoes' White Veil," a dizzying, manic 12-minute work of almost stupefying difficulty...This 1996 piece has become a calling card for Mr. Hardink, who played Mr. Eckardt's score not just with command, but with abandon and remarkable clarity." -The New York Times, February 27, 2019

Harry Rolnick of ConcertoNet was also struck by Mr. Hardink's technical prowess and power: "He was astounding, yes. This was dazzlement on a new scale...No score pages were turned (he played the most agonizing work from memory), no fingers were mis-crossed (in a Liszt etude his left hand leaped like an Olympic jumper), and by the end, we were more breathless than he was...the final impression this writer had was...an unfettered awe" (February 27, 2019).



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