![]() He performs on a 1728 Matteo Goffriller cello. He has recorded a wide range of repertoire from Baroque to avant-garde for the Angel, Arabesque, Columbia, CRI, Delos, Musical Heritage, New World, Nonesuch, Vanguard, Vox, and Sony Classical labels. A former member of the Galimir Quartet, the New York Philomusica, and the Bach Aria Group, he collaborates regularly in recital with pianist Gilbert Kalish. Eddy is currently Professor of Cello at the Juilliard School and New York’s Mannes College of Music, and he was a frequent faculty member at the Isaac Stern Chamber Music Workshops at Carnegie Hall. He has won prizes in numerous national and international competitions, including the 1975 Gaspar Cassado International Violoncello Competition in Italy. of Cello at the Juilliard School and New Yorks Mannes College of Music. He has appeared at the Mostly Mozart, Ravinia, Aspen, Santa Fe, Marlboro, Lockenhaus, Spoleto, and Sarasota music festivals. Cellist Timothy Eddy has earned distinction as a recitalist, soloist with. He has performed with numerous symphonies, including Dallas, Colorado, Jacksonville, North Carolina, and Stamford. While the number of incoming applications fluctuates, it is safe to say that the school receives between 400 and 500 applications on an annual basis. ![]() Godin’s new work, based on “O Vis Aeternitatis” by Hildegard Von Bingen, is composed for the five-string Baroque cello. This workshop is made possible with the generous support of a SOCAN Foundation Education Grant.Cellist Timothy Eddy has earned distinction as a recitalist, soloist with orchestra, chamber musician, recording artist, and teacher of cello and chamber music. Mannes School of Music Acceptance Rate Bm91792, Mannes facade, CC BY-SA 4.0 The Mannes School of Music acceptance rate is 24. ![]() Using live examples performed by Frey, Godin will illustrate his approach to this important aesthetic question in his new work “Guided by Voices”. Join us on April 10th at 12:15pm for a public workshop entitled “New Music, Ancient Instruments” with Elinor Frey and composer Scott Godin at the Centre de musique canadienne au Québec, Espace Kendergi. Frey holds degrees from McGill University, Mannes College of Music, and The Juilliard School. ![]() Her performance of the CD’s program was the winner of the public prize at the 2013 Utrecht Early Music Festival Fringe. Her new CD, La voce del violoncello, was released in 2013 on the Belgian label Passacaille, and was praised for its “careful scholarship and brilliant layering of moods and tempos” (Toronto Star) and for the “honest, reflective beauty of her music making” (Strings). In recent seasons she has performed with, among others, Ensemble Caprice, Tafelmusik, Les Idées heureuses, and Bradamante, as well as with her quartet, Pallade Musica, grand prize winners of the 2012 Early Music America Baroque Performance Competition and second prize winners in the 2014 International Van Wassenear Competition in Utrecht.įrey’s debut album, Dialoghi, is titled for the solo piece written for her by Steven Stucky. Frey’s honors include a US-Italy Fulbright Fellowship where she studied baroque cello with Paolo Beschi, the SSHRC Canada Graduate Scholarship, and American Musicological Society and Canada Council for the Arts grants facilitating her work on Italian baroque and modern unaccompanied cello music. Elinor Frey‘s program centers around two contrasting approaches to five-string cello repertoire: a new work by Canadian composer Scott Godin entitled “Guided By Voices” (based on “O Vis Aeternitatis” of Hildegard Von Bingen) and the performance of the instrument’s most enduring work, Bach’s Sixth Solo Suite, as well as a new piece by Isaiah Ceccarelli and works by Benda and Telemann, all revealing the five-string cello’s incredible versatility and remarkable colors.įascinated with the cello’s origins and the creative process of new music, Elinor Frey plays both historical and modern instruments. However, in the seventeenth and eighteenth centuries it was simply one of the many instruments used in the family of bass violins, and was particularly important for virtuosic sonatas and solos. Today, the five-string cello is treated as an exotic and rarely-played cousin of the standard cello.
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