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New York Woodwind Quintet

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New York Woodwind Quintet by Christian Steiner
New York Woodwind Quintet by Christian Steiner

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Now in its seventh decade, the New York Woodwind Quintet has maintained an active performance schedule in the United States and abroad while also teaching the next generation of woodwind performers. The Quintet has commissioned and premiered over 20 compositions, some of which have become classics of the woodwind repertoire. They include quintets by Gunther Schuller, Ezra Laderman, William Bergsma, Alec Wilder, William Sydeman, Wallingford Riegger, Jon Deak, Evis Sammoutis, and Yehudi Wyner. The Quintet has featured many of these in recordings for such labels as Boston Skyline, Bridge, New World Records, and Nonesuch, and has just released Schoenberg's Wind Quintet on the Naxos label. The Quintet's members also honor the legacy of departed members, including the late Samuel Baron, by continuing to perform his transcriptions of works such as Bach's Art of the Fugue and the Scherzo from Mendelssohn's A Midsummer Night's Dream, and the late Ronald Roseman, by performing his Wind Quintet No. 2 and Sextet for Piano and Winds which was dedicated to the New York Woodwind Quintet and completed just before he died. Continuing that tradition, the group regularly performs numerous transcriptions by William Purvis and several compositions of Charles Neidich.Current NYWQ members flutist Carol Wincenc, clarinetist Charles Neidich, oboist Stephen Taylor, bassoonist Marc Goldberg, and French hornist William Purvis, all internationally recognized performers and teachers, continue the Quintet's now 20-year-long residency at The Juilliard School, where they present eight seminars each year for student woodwind quintets and give regular coaching sessions.

Carol Wincenc, flutist, has appeared as a soloist with major orchestras around the world and has premiered works written for her by many of today's most prominent composers. Recently written for her are ten short Valentines by Arnold Black, Tobias Picker, Roberto Sierra, Michael Torke, Christopher Rouse, Lukas Foss, Peter Schickele, Joan Tower, Paul Schoenfield, and Henryk Gorecki. Her recording of Rouse's work for Telarc with Christoph Eschenbach and the Houston Symphony, won the Diapason D'Or prize. In great demand as a chamber musician, Ms. Wincenc has collaborated with the Guarneri, Emerson, Tokyo, and Cleveland string quartets, and Jessye Norman, Emanuel Ax, Yo-Yo Ma, and Elly Ameling. Festival appearances include Aldeburgh, Aspen, Budapest, Caramoor, Frankfurt, Marlboro, Mostly Mozart, Santa Fe, Sarasota, Spoleto, and Trivoli. Music publisher Carl Fischer has released the Carol Wincenc "Signature Series" collection of works for flute, selected and edited by Ms. Wincenc. First Prize winner of the Walter W. Naumburg Solo Flute competition, Carol Wincenc has been a member of the flute faculty at The Juilliard School since 1988, and SUNY Stony Brook since 1998.

 

Oboist Stephen Taylor holds the Mrs.John D. Rockefeller III solo oboe chair with the Chamber Music Society of Lincoln Center. He is also solo oboe with the New York Woodwind Quintet, the Orchestra of St. Luke's, the St. Luke's Chamber Ensemble (where he is co-director of chamber music), the American Composers Orchestra,the New England Bach Festival Orchestra, the renowned contemporary music group Speculum Musicae, and plays as co-principal oboe with the Orpheus Chamber Orchestra.

He appears regularly as soloist and chamber musician at such major festivals as Spoleto, Caramoor International Music Festival, Aldeburgh, Bravo! Colorado, Music from Angel Fire, Chamber Music Northwest, Santa Fe Chamber Music Festival,and the Aspen Music Festival. Stereo Review named his recording of Mozart's Sinfonie Concertante for winds (Deutsche Grammophon with Orpheus) the Best New Classical Recording. Included among his more than 200 other recordings are  Bach arias with Itzhak Perlman and Kathleen Battle, Bach's Oboe d'amore Concerto, as well as premier recordings of the Wolpe Oboe Quartet, Elliott Carter's Oboe Quartet for which Mr. Taylor received a Grammy Nomination, and works of Andre Previn. He has premiered many of Carter's works including A Mirror on Which to Dwell, Syringa, Tempo e Tempi, Trilogy for Oboe and Harp (US), Oboe Quartet (US), and A 6 Letter Letter (US).

Trained at The Juilliard School with teachers Lois Wann and Robert Bloom, Mr. Taylor is a member of its faculty as well as the Yale School of Music and the Manhattan School of Music. Mr Taylor collects and restores old wooden boats and plays on a rare Caldwell model Lorée oboe.

Charles Neidich, clarinetist, is active not only as a soloist and collaborator in chamber music programs, performing with leading ensembles including the St. Louis, Minneapolis, MDR , Moscow State Symphonies, and the Juilliard, Brentano, and Borodin Quartets, but also as a composer and conductor, performing all three roles with the ensembles such as the San Diego Symphony and the Tapiola Sinfonietta. He was one of the first soloists to improvise cadenzas and ornament classical concertos and has been active restoring original versions of works and bringing them before the public, including those of Mozart, Weber, Copland, and Schumann. An ardent exponent of new music, Mr. Neidich has expanded the technical possibilities of the clarinet and has championed works especially of Milton Babbitt, Elliott Carter, Ralph Shapey, Donald Martino, Joan Tower, Helmut Lachenmann, and Edison Denisov. His own work, Sound and Fury for woodwind quintet and taped English Horn written in the memory of Ronald Roseman, was premiered by the New York Woodwind Quintet. Mr. Neidich's recordings are available on the Sony Classical, Sony Vivarte, Deutsche Grammophon, Musicmasters, Hyperion, Bridge, and Cobra labels. In addition to the New York Woodwind Quintet, Mr. Neidich is a member of Mozzafiato, the noted period ensemble. He currently is a member of the faculties of Juilliard, the Manhattan School, the Mannes College of Music, and is Visiting Professor at the Aaron Copland School of Music at Queens College, CUNY.

Bassoonist Marc Goldberg is currently a member of the NY Woodwind Quintet, principal bassoonist of Lincoln Center's Mostly Mozart Festival Orchestra, and a member of the American Symphony Orchestra. He has previously held positions as associate principal bassoon with the NY Philharmonic (2000-2002) and acting principal bassoon with the NY City Opera (2004-2005). A frequent guest of the Metropolitan Opera, the Boston Symphony Orchestra, the Orchestra of St. Luke's, and Orpheus, he has toured with these ensembles across four continents and joined them on numerous recordings.

His solo appearances include performances with the Brandenburg Ensemble at Boston's Symphony Hall and NY's Avery Fisher, and performances throughout the United States, in South America, and across the Pacific Rim with the Mostly Mozart Festival Orchestra, American Symphony Orchestra, Jupiter Symphony, NY Chamber Soloists, Sea Cliff Chamber Players, NY Symphonic Ensemble, and the NY Scandia Symphony. He has been a guest of the Chamber Music Society of Lincoln Center, the Da Camera Society of Houston, the St. Luke's Chamber Ensemble, Musicians from Marlboro, the Brentano Quartet, Carnegie Hall's Zankel Band, the Boston Chamber Music Society, and the Eastern Shore Chamber Music Festival. For many years a member of the Chelsea Chamber Ensemble, the American Composers Orchestra, and the Ensemble Sospeso, Mr. Goldberg has premiered more than 100 orchestral, chamber, and operatic works over the last 20 years.

He has appeared at the summer festivals of Spoleto, Ravinia, Chattauqua, Tanglewood, Caramoor, and Marlboro, and has been associated with the Bard Music Festival since it's inception, both as chamber musician and principal bassoonist of the American Symphony Orchestra at Bard. He has also been active in the commercial music field, appearing with such diverse artists as James Taylor, Joni Mitchell, and Joe Jackson, and has recorded cast albums for three Broadway shows and soundtracks for more than two dozen films. Mr. Goldberg began his association with The Juilliard School at its Pre College division as a student of Harold Goltzer, continuing on to the College to receive both his Bachelor's and Master's degrees. He joined the Pre College faculty in 1988, and is currently on the faculty of Juilliard, Mannes College, The Hartt School, Columbia University, and the Bard College Conservatory of Music.

A native of Western Pennsylvania, William Purvis pursues a multifaceted career both in the United States and abroad as horn soloist, chamber musician, conductor and educator. A passionate advocate of new music, Mr. Purvis has participated in numerous premieres as hornist and conductor. Mr. Purvis is a member of the New York Woodwind Quintet, the Orchestra of St. Luke's, the Yale Brass Trio, the Triton Horn Trio and is an Emeritus member of Orpheus. A frequent guest artist with the Chamber Music Society of Lincoln Center, he has also has collaborated with the Tokyo, Juilliard, Orion, Brentano, Mendelssohn, Sibelius and Fine Arts string quartets. His extensive list of recordings spans an unusually broad range from original instrument performance to standard solo and chamber music repertoire to contemporary solo and chamber music works as well as numerous recordings of contemporary music as conductor.

Mr. Purvis' recent recordings include Retracing II for Solo Horn of Elliott Carter, the Horn Concerto of Peter Lieberson (which received a Grammy and a WQXR Gramophone Award), works of Schumann, Etudes and Parodies for Violin, Horn and Piano of Paul Lansky and Quintet for Horn and Strings by Richard Wernick with the Juilliard Quartet on Bridge, the Wind Quintet of Schoenberg with the New York Woodwind Quintet on Naxos, Steven Stucky's Sonate en Forme des Préludes and Joan Tower's A Gift on Deutsche Grammophon. His upcoming appearances include performances of the Horn Concerto by Krzysztof Penderecki in April 2010 with the Yale Philharmonia in New Haven and Carnegie Hall under the baton of the composer.

Mr. Purvis is currently a faculty member of The Juilliard School (where he was also Coordinator of the New York Woodwind Quintet Seminar for twenty years) and The Yale School of Music, where he is Professor of Horn and Chamber Music and Coordinator of Winds and Brass. In September of 2008 Mr. Purvis was appointed Interim Director of the Musical Instrument Collection at Yale, and in December of 2008 he was Artistic Director of the Messiaen Centenary at Yale.

(December 2011)