NICHOLAS MCGEGAN RETURNS TO CONDUCT BACH AND VIVALDI’S MOST POPULAR CONCERTOS

McGegan has established the San Francisco-based Philharmonia as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen. One of their greatest successes was the recent fully-staged modern-day premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire. A recording of the live performance was released in summer 2018, marking the 10^th album produced on the Philharmonia Baroque Productions label. As part of their initiative of performing new music written for period instruments, PBO gave the world premiere of Sally Beamish’s The Judas Passion in 2017.

Highlighting PBO’s 2018/19 season is the completion of a PBO-commissioned song cycle by Caroline Shaw featuring mezzo Anne Sofie von Otter. The program will be toured to Alice Tully Hall at New York’s Lincoln Center. McGegan and PBO also bring Handel’s Atalanta to Caramoor Music Festival in addition to presenting Saul, one of the composer’s most inventive and popular oratorios, on their west coast subscription series.

Throughout his career, McGegan has defined an approach to period style that sets the current standard: intelligent, infused with joy, and never dogmatic. Under his leadership Philharmonia continues to expand its repertoire into the Romantic Era and beyond. Calling the group’s recent recording of the Brahms Serenades “a truly treasurable disc,” James R. Oestreich in The New York Times made special note of the performance’s “energy and spirit.” The recording, said Voix des Arts, offers “evidence that ‘period’ instruments are in no way inhibited in terms of tonal amplitude and beauty. These are … exceptionally beautifully played performances.”

McGegan’s ability to engage players and audiences alike has made him a pioneer in broadening the reach of historically informed practice beyond the world of period ensembles to conventional symphonic forces. His guest-conducting appearances with major orchestras — including the New York, Los Angeles, and Hong Kong Philharmonics; the Chicago, Milwaukee, St. Louis, Toronto, Sydney, and New Zealand Symphonies; the Cleveland and the Philadelphia Orchestras; and the Royal Northern Sinfonia and Scottish Chamber Orchestra — often feature Baroque repertoire alongside Classical, Romantic, 20th-century and even brand-new works: Mendelssohn, Sibelius, Britten, Bach and Handel with the Utah Symphony; Poulenc and Mozart with the City of Birmingham Symphony Orchestra; Mahler and Mozart with the Pasadena Symphony Orchestra; and the premiere of Stephen Hough’s Missa Mirabilis with the Indianapolis Symphony Orchestra, paired with Haydn, Brahms and Mendelssohn. His position in Pasadena provides the opportunity to conduct a wider range of his favorite repertoire, including Dvořák, Britten, Elgar, Mahler, Brahms and Wagner.

His 18/19 guest appearances in North America include his annual return to St. Louis Symphony as well as engagements with Baltimore, Detroit, Calgary, National and Pasadena Symphonies. Abroad, McGegan makes returns to the New Zealand Symphony, Bournemouth Symphony Orchestra, and appears with the Stuttgart Radio Symphony Orchestra in performance and in the recording studio for an upcoming release with soloist Gil Shaham. Summer Festivals include Aspen, Music Academy of the West, and MDR Musiksommer in Germany. In the summer of 2017, McGegan conducted the Royal Northern Sinfonia for the BBC Proms in Hull, marking 300 years since Handel’s Water Music was first famously performed on the River Thames. It was the first time since the 1930s a festival performance had been moved outside London.

Active in opera as well as the concert hall, McGegan was principal conductor of Sweden’s perfectly preserved 18th-century Drottningholm Theater from 1993 to 1996, Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2011), and Principal Guest Conductor at Scottish Opera in the 1990s. Guest appearances have brought him to the podium at Covent Garden, San Francisco, Santa Fe, and Washington. Mr. McGegan has enjoyed a long collaboration with groundbreaking choreographer Mark Morris, notably the premiere performances of Morris’s production of Rameau’s Platée at the Edinburgh Festival, and Handel’s Acis and Galatea and L’Allegro at venues including the Ravinia Festival, the Mostly Mozart Festival in New York, and Cal Performances in Berkeley.

McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded more than 50 albums of of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to twenty of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has recently released almost a dozen acclaimed albums of Handel, Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, and more. McGegan’s latest release with PBO is the first-ever recording of the recently rediscovered 300-year-old work La Gloria di Primavera by Alessandro Scarlatti, recorded live at the U.S. premiere. Since the 1980s, Nic has released more than 20 recordings with Hungary’s Capella Savaria on the Hungaroton label, including groundbreaking opera and oratorio recordings of repertoire by Handel, Monteverdi, Scarlatti, Telemann and Vivaldi. Recently, the collaboration has produced albums of Kraus, Mendelssohn, Schubert, a 2-CD set of the complete Mozart violin concerti, and in fall of 2018, Haydn’s Symphonies 79, 80, and 81. A new album of early horn concertos was released in spring of 2018, with McGegan conducting the Swedish Chamber Orchestra along with soloist Alec Frank-Gemmill. Grammy nominations include Handel’s Susanna for Best Choral Performance and Haydn’s Symphonies 104, 88 & 101 for Best Orchestral Performance, both with Philharmonia Baroque Orchestra

Mr. McGegan is committed to the next generation of musicians, frequently conducting and coaching students in residencies and engagements at Yale University, the Juilliard School, Harvard University, the Colburn School, Aspen Music Festival and School, Sarasota Music Festival, and the Music Academy of the West. He returns to Yale in Fall 2018 for a residency and performance with the Institute of Sacred Music. He has been awarded the honorary degree of Doctor of Music by the San Francisco Conservatory of Music; an honorary professorship at Georg-August University, Göttingen; and in 2016 was the Christoph Wolff Distinguished Visiting Scholar at Harvard. McGegan’s fun and informative lectures have delighted audiences at Juilliard, Yale Center for British Art, American Handel Society, and San Francisco Conservatory.

Born in England, Nicholas McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honours for 2010 “for services to music overseas.” His awards also include the Halle Handel Prize; an honorary professorship at Georg-August University, Göttingen; the Order of Merit of the State of Lower Saxony (Germany); the Medal of Honour of the City of Göttingen; and an official Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of his distinguished work with Philharmonia.

Visit Nicholas McGegan on the web at www.nicholasmcgegan.com.

After winning “Young Musician of the Year” Winds Open Class Competition (Hong Kong, China and Macau) at age 14, Martha appeared as soloist in 2010 with the Hong Kong Philharmonic Orchestra. She was also awarded the highest distinction in Associate Diploma and Licentiate Diploma from Trinity College of London at the age of 11.

Martha made her New York solo debut in Carnegie Hall’s Weil Recital Hall after winning first prize at the 2015 American Fine Arts International Concerto Competition. She also won first place in the Vienna Virtuoso International Competition and was invited to the Mettallener Saal Musikverein. A top prize winner in the London Virtuoso International Competition, she was invited to perform at Royal Albert Hall. She was the first prize winner of the 2019 Donald Peck international flute competition, 2019 Colorado Flute Association Young Artist Competition, 2015 Rochester Flute Association Emerging Artist Category, Parson Music Scholarship for Winds, Brass and Percussion Instruments. She was also a finalist in the Coeur d’Alene Symphony Young Artist Competition and the 56th Annual Eastern Connecticut Symphony Instrumental Competition. Martha was selected to receive a Performer’s Certificate from Eastman School of Music for her achievements as a flutist and was runner up for the Shepherd School of Music’s Concerto competition.

As an orchestral musician, Martha has performed as principal flute at The John F. Kennedy Center for Performing Arts with the National Symphony Orchestra Summer Music Institute and at Lincoln Center with the Eastman Philharmonia. Martha has spent summers performing at festivals including Spoleto Festival USA, Aspen Music Festival and School, Sarasota Music Festival, where she performed J.S. Bach’s Brandenburg Concerto No. 4 alongside Thomas Robertello and Margaret Batjer as a soloist, The Kennedy Center’s National Symphony Orchestra Summer Music Institute with full scholarship, Hamamatsu International Wind Instrument Academy and Festival and Orford Musique.

Chunchu Competition, Educlassic Music Competition, Korea Germany Brahms Association Competition, The Seoul Orchestra Competition, Eumyoun Piano Competition and The Korean Liszt Competition. She has also participated in a number of festivals, including the Seoul National University International Piano Adcademy, Seoul National University International Chamber Music Festival and Rebecca Penneys Piano Festival. Now, she is an Artist Diploma candidate at the Colburn Conservatory of Music, where she studies with Fabio Bidini.

Recent highlights include the world premiere of a new work for Roomful of Teeth and Dover Quartet at Bravo! Vail Music Festival, and performances of Tumblebird Contrails by the Los Angeles Philharmonic in January 2019, conducted by John Adams. Current projects include a new solo piano piece for Timo Andres and recording an album at Greenhouse Studios in Iceland.

During the 2016-17 season, Gabriella was the Nashville Symphony’s inaugural Composer Lab & Workshop Fellow. Other recent residencies include two months as an artist fellow at Instituto Sacatar on the island of Itaparica in Bahia, Brazil and a Copland House Residency at Aaron Copland’s home in Cortlandt Manor, New York. After graduating, she returned to the Curtis Institute of Music as an ArtistYear Fellow for the 2015-16 season, dedicating a citizen-artist year of national service in the Philadelphia region.

She has received commissions from Kaleidoscope Chamber Orchestra, the Barlow Endowment for Music Composition, the People’s Commissioning Fund for Bang on a Can’s Field Recordings project, the Pacific Harmony Foundation for the 2014 Cabrillo Festival of Contemporary Music, the New York Youth Symphony as part of their First Music program, Tucson Symphony, yMusic, the Barnes Foundation for the opening of their 2015 exhibition Order of Things, Friction Quartet, One Book One Philadelphia in celebration of their 2012 book selection Create Dangerously by Edwidge Danticat, Lake Champlain Chamber Music Festival for their 2012 season opening concert, Dinosaur Annex Music Ensemble for their 9th Annual Young Composers Concert, the Rock School of Ballet in Philadelphia, and Monadnock Music in collaboration with poet Marcia Falk, among others.

Gabriella is a recipient of a BMI Student Composer Award (2018), the ASCAP Leo Kaplan Award (2014),  three ASCAP Morton Gould Young Composer Awards, a winner of the American Modern Ensemble Ninth Annual Composition Competition (2015), the Theodore Presser Foundation Music Award (2012), and the First Place Prize in the 2009 Pacific Musical Society Composition Competition.

Gabriella received her Bachelors of Music in composition from the Curtis Institute of Music, where she studied with David Ludwig, Jennifer Higdon, and Richard Danielpour. After Curtis, she attended Princeton University for graduate studies, where she has studied with Steve Mackey, Paul Lansky, Dan Trueman, Dmitri Tymoczko, Donnacha Dennehey, and Ju Ri Seo.

When not composing, she can be found hiking, backpacking (playing trail songs on her ukulele along the way), birding, playing capoeira, and recording underwater soundscapes with her hydrophone.