CHOPIN Cello Sonata in G minor, Op 65 Carter BREY, Christopher O'RILEY

CHOPIN: Cello Sonata in G minor, Op. 65
Carter BREY, cello
Christopher O'RILEY, piano
I. Allegro moderato
II. Scherzo - Trio
III. Largo
IV. Finale. Allegro
Carter Brey was appointed Principal Cello, The Fan Fox and Leslie R. Samuels Chair, of the New York Philharmonic in 1996. He made his official subscription debut with the Orchestra in May 1997 performing Tchaikovsky’s Rococo Variations under the direction of then Music Director Kurt Masur. He has since appeared as soloist almost every season, and was featured during The Bach Variations: A Philharmonic Festival, when he gave two performances of the cycle of all six of Bach’s cello suites. Most recently, he was the soloist in performances of Schumann’s Cello Concerto on the Orchestra’s CALIFORNIA 2016 tour, led by then Music Director Alan Gilbert.
He rose to international attention in 1981 as a prizewinner in the Rostropovich International Cello Competition. The winner of the Gregor Piatigorsky Memorial Prize, Avery Fisher Career Grant, Young Concert Artists’ Michaels Award, and other honors, he also was the first musician to win the Arts Council of America’s Performing Arts Prize.
Mr. Brey has appeared as soloist with virtually all the major orchestras in the United States, and performed under the batons of prominent conductors including Claudio Abbado, Semyon Bychkov, Sergiu Comissiona, and Christoph von Dohnányi. He is a member of the New York Philharmonic String Quartet, established in the 2016-17 season, and has made regular appearances with the Tokyo and Emerson string quartets,The Chamber Music Society of Lincoln Center, and at festivals such as Spoleto (both in the United States and Italy) and the Santa Fe and La Jolla Chamber Music festivals. He and pianist Christopher O’Riley recorded Le Grand Tango: Music of Latin America, a disc of compositions from South America and Mexico released on Helicon Records.
Mr. Brey was educated at the Peabody Institute, where he studied with Laurence Lesser and Stephen Kates, and at Yale University, where he studied with Aldo Parisot and was a Wardwell Fellow and a Houpt Scholar. His violoncello is a rare J.B. Guadagnini made in Milan in 1754.
In his solo repertoire, O’Riley has always been expanding and building transformatively, first branching out into early Virginalists, William Byrd, Orlando Gibbons, Giles Farnaby, then Bach’s less celebrated keyboard creator, Jean Phillipe Rameau. O’Riley first ventured into the art of piano transcription most famously with his arrangement of the Flower Duet, “Viens, Mallika!” from Leo Delibes’ Lakme, then two by Bach, the Trio Sonata in C Major, and the Dorian Toccata & Fugue, Astor Piazzolla’s Verano Porteño. Apollon musagete, O’Riley’s favorite work of Igor Stravinsky, and Liszt’s transcription of Berlioz ~ Symphonie Fantastique are two major works which O’Riley has amended copiously
More genre-fluid projects resulted from his work with cellist, Matt Haimovitz. Their first project was an homage to the iPod: Shuffle.Play.Listen (Oxingale/Pentatone), a two-disc set, featured repertoire of Stravinsky, Piazzolla, Martinu, Janacek as well as arrangements of Radiohead, Cocteau Twins, Blonde Redhead, John McGlaughlin, and movements from recent Centenary-celebrant, Bernard Herrmann’s score to the Alfred Hitchcock film, Vertigo. A similarly genre-straddling, Russian oriented project, TROIKA posed established masterpieces for cello and piano by Prokofiev, Shostakovich and Rachmaninoff with arrangements of each, as well as of more contemporary Russian artists, Victor Tsoi and the protest band, Pussy Riot, and The Beatles’ anthemic Back In The U.S.S.R.
O’Riley’s recorded oeuvre is extensive, beginning auspiciously with his debut recording of Ferrucio Busoni’s epic reimagining of Bach’s unfinished ending of his Art of the Fugue, Fantasia Contrapuntistica. Ensuing releases celebrated Contemporary American Composers (Adams, Helps, Brief, Sessions), Maurice Ravel, Beethoven Sonatas. O’Riley’s 1994 Nonesuch release, Stravinsky featured the perennial virtuoso favorite, Trois movements de Petrouchka as well as O’Riley’s extensively reimagined piano versions of movements of L’histoire du soldat and his favorite of all Stravinsky’s works, the ballet Apollon musagete.
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