Ken-David Masur -- who has been hailed as "fearless, bold, and a life-force" (San Diego Union-Tribune) and "a brilliant and commanding conductor with unmistakable charisma" (Leipzig Volkszeitung), begins the 2017/18 season leading the Boston Symphony Orchestra at Tanglewood in a program of Aaron Jay Kernis, Prokofiev and Tchaikovsky, and an end-of-summer return to lead the Los Angeles Philharmonic at the Hollywood Bowl in Dvorak 9 and the world premiere of Alan Fletcher’s new piano concerto. The fall brings performances of a new production of Moto Osada’s chamber opera Four Nights of Dream at the Japan Society in New York and at the Tokyo Bunka Kaikan, followed by a subscription week of Beethoven’s incidental music for Goethe’s tragedy Egmont, and a new, staged production of the incidental music of Grieg’s Peer Gynt created especially for the Boston Symphony (writer/Director Bill Barclay) with the Tanglewood Festival Chorus, Soprano Camilla Tilling, and stage actors at Symphony Hall.
Other guest engagements in 2017/18 include weeks with the Milwaukee, Colorado, and Portland (ME) Symphonies, and returns to the Chicago Civic Orchestra, the Munich Symphony, where he is Principal Guest Conductor, and to the Yomiuri Nippon Symphony Orchestra in Japan.
Masur also led the Boston Symphony at Tanglewood last season (Tchaikovsky 6 and Strauss’ Four Last Songs with Renée Fleming) as well as the L.A. Philharmonic (Beethoven Symphony No. 5 and Korngold violin Cto. with Gil Shaham), and guested at the Orchestre National de France in Paris in a program with Anne-Sophie Mutter, and in Germany, Korea, and Moscow. As a sought-after leader and educator of younger players, Ken-David conducted the Chicago Civic Orchestra, BUTI, New England Conservatory, and the Tanglewood Music Center Orchestra last season.
Associate Conductor of the Boston Symphony, Ken-David Masur and his wife, pianist Melinda Lee Masur, are founders and Artistic Directors of the Chelsea Music Festival, an annual two-week long multi-media production of music, art, and cuisine which in June, 2017 presented its 8th season in New York. Its productions are varied and internationally themed, always including premieres of new works by young and established composers -- a celebration of the arts and senses called a “gem of a series” by the New York Times, which frequently features the Festival amongst its Best Classical picks of the season.
Masur’s previous appointments include Associate Conductor of the San Diego Symphony, Assistant Conductor of the Orchestre National de France in Paris from 2004-2006, and Resident Conductor of the San Antonio Symphony in 2007. In 2011, he was the recipient of the Seiji Ozawa Conducting Fellowship at Tanglewood, where he was invited to return as a Fellow in 2012. He has had guest engagements with the Dresden, Israel, and Japan Philharmonics; with the Orchestre National de Toulouse, and the Hiroshima, Omaha, and Memphis Symphonies.
Ken-David Masur has recently made recordings with the English Chamber Orchestra and violinist Fanny Clamagirand, and with the Stavanger Symphony. As founding Music Director of the Bach Society Orchestra and Chorus at Columbia University, he toured Germany and released a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach and J.S. Bach. Masur received a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album Salon Buenos Aires.
(September 2017. Please discard previously dated materials and contact email@example.com before making any alterations or cuts.)
"...something of a macaronic mixture of classical drama, folkloristic fantasy, cabaret-style archness, and wink-winking 21st-century irony. These elements don’t always sit easily together. But I can happily report that Masur and the orchestra raised their game in the Grieg by several notches, that the Tanglewood Festival Chorus was a vibrant presence, and that Tilling’s performances of Solveig’s Song and Solveig’s Lullaby, with their gleaming tone and beautiful purity of line, took the evening, albeit briefly, to an entirely different place." - Jeremy Eichler, The Boston Globe
"The reading of Lutoslawski’s difficult and underperformed Concerto for Orchestra was especially notable, with Mr. Masur showing complete command and the students playing at a near-professional level." - Hillary Scott, The New York Times
"The Boston University Symphony gave a brilliant reading of Hindemith’s work. The principals had plenty of bright solo work, but the ensemble was expertly coordinated and balanced. Masur commanded them all with complete confidence and reassurance."
"Conducting without a baton, Masur used a score but hardly looked at it. He showed an impressive structural grasp both in his warm and perfectly paced Andante and in his supple shaping of the score's wraith-like transition from the Scherzo into the bracing Allegro finale. Masur also highlighted the riveting virtuosity of the Phil's cellos and basses in the Scherzo’s trio section."
"Under Masur’s direction on Saturday, Tchaikovsky’s Symphony No. 6 crackled with such vitality and force that past performances of the work now seem pale and tentative by comparison. The crowd was ready to explode long before the piece ended. And when it did, they stood and roared."
"Heroics abounded in the "Eroica" — in Beethoven's Bonaparte-inspired symphony, of course, but also in the performance under Masur... ...He had a sure sense of tension and release, of making each note and phrase tell a story."
"Ken-David Masur, guest conductor, raised the City Chamber Orchestra of Hong Kong to a new level in the opening concert of their season. His emphatic gestures infused the players with life and set up clean tempo changes and solid entrances and endings."
"Masur drew an unusually supple shape and beautifully unified ensemble from the strings... Masur called forth robust colors form the orchestra’s brass choirs, and his telling orchestral fortes were meticulously balanced." - San Diego Story
"On the podium, [Masur] cuts a figure both streamlined and angular, and his taut podium gestures convey a wiry intensity. That quality worked to fine effect in the hurtling music... Masur’s leadership from the podium was for the most part effective and efficient." - The Boston Globe
For publicity use, please download the high resolution versions here.
Colbert Artists Management
Christina Putnam, Vice President
307 Seventh Ave #2006, New York NY 10001, USA
+1 (212) 245-0427
Boston Symphony Orchestra
301 Massachusetts Avenue, Boston MA 02115, USA
+1 (617) 266-1492
Chelsea Music Festival
Press inquiries: Carolin Wagner