MARION FELDMAN is recognized as one of today's leading performers and pedagogues of cello and chamber music. She is on both the cello and chamber music faculties of the Manhattan School of Music, Brooklyn College Conservatory, City University Graduate Center and new York University.
Miss feldman received her training as a scholarship student at the Juilliard School where she studied with Luigi Silva, Bernard Greenhouse, Leonard Rose and Zara Nelsova. Her chamber music tutelage was with members of the Juilliard Quartet, William Primrose and Artur Balsam. She also studied with Marion Davies and Andre Navarra.
Marion feldman has appeared as orchestral soloist, recitalist and chamber msucian throughout the continental United States and the Far East. This includes numerous recitals and chamber appearances as WEill Hall, Alice Tully Hall and Merkin Concert Hall in new York City. In 1992 she participated in a government sponsored tour of Taiwan. In subsequent years she appeared at the Seoul Music festival, the Cheju-Halla Festival and and the Kangneung-Manhattan festival inKorea. This year she was invited to a festival at Soong-Sil University in Seoul where she taught master classes. In the United States she has been a participant performer and teacher at the Waterloo festival. the FAME Festival annd the Gerhardt Festival to mention a few. Previous festival affiliations include the Downeast Chamber Music Center, the Masters Chamber Music festival and the Aspen festival Current invitations to perform and teach come from Russia, Italy, France and Mainland China, as well as return invitations to Taiwan and Korea.
Miss feldman is a former member of the New York Lyric Arts Trio and The New Manhattan Trio (which she founded with Erick Friedman and Joseph Seiger). She has also been a member of the Aureus Ensemble and the Lorenzo Trio. At present she is in a piano trio with Sylvia Rosenberg and Joanne Polk. She also has an ongoing Sonata Duo with pianist Michael Rogers.
"She cultivates an unusually large resonant tone, and relies on a bowing
technique that is constantly secured and poised."
The New York Times
"The Shostakovich Sonata, which covers an especially wide range of musical
gestures was particularly well realized with its diversity if expression
caefully considered and convincingly unified. Ms. Feldman caughtthe tenderly
capricious nature of the Beethoven most effectively, while the Chopin Sonata
was phrased with real aristocratic elegance."
The New York Times
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