baroque keyboardist and conductor
jeffrey@jeffreygrossman.com
Quotes
Live Performance
This dollop of French style served as an enchanting ending to this musical potpourri–capturing the spirit and talents of this remarkable ensemble and the music couldn’t have been performed with more flair or affection.
Rick Perdian, New York Classical Review, PDF of full review
[Performance with the Sebastians]
Grossman, artistic director of the New York Baroque ensemble the Sebastians, served as guest conductor, leading the substantial forces from the continuo organ. His leadership was subtle yet engaged, and he charted a sure course through Praetorius’ highly intricate settings, particularly the extended and involved “Gelobet seist du, Jesu Christ.”
Tim Sawyier, Chicago Classical Review, PDF of full review
[Performance with The Newberry Consort]
...everywhere sharp-edged and engaging...
James R. Oestreich, The New York Times, PDF of full review
[Performance with the Sebastians at the Boston Early Music Festival Fringe Festival]
The musical quality was further enhanced by the presence of the [Sebastians], a leading young early-music ensemble, which performed beautifully throughout.
James R. Oestreich, The New York Times, PDF of full review
[Performance with the Sebastians in collaboration with dell'Arte Opera Ensemble]
Supporting these aims, Dell’Arte scored a canny coup for its first opera from the baroque repertoire by inviting the up-and-coming period-instrument ensemble The Sebastians to form the core of the Poppea band. Recent winner of the Audience Prize at the Early Music America Baroque Performance Competition, the Sebastians surely provided a salutary grounding for a crew of singers with little or no experience in this kind of music.
It was a tribute to Jeffrey Grossman, Sebastians harpsichordist and leader of the performance, that everyone sounded so at home in Monteverdi’s challenging signature style of heightened recitative, which was so ably supported by his intrepid continuo group...
Chris Corwin (DeCaffarrelli), Parterre Box, PDF of full review
[Performance with the Sebastians in collaboration with dell'Arte Opera Ensemble]
The singers were helped by taut ensemble playing from conductor Jeffrey Grossman and The Sebastians, a period chamber ensemble.
Paul J. Pelkonen, Superconductor, PDF of full review
[Performance with the Sebastians in collaboration with dell'Arte Opera Ensemble]
There were also fine individual performances in the chamber works, by Beth Wenstrom and Liv Heym, violinists; Emi Ferguson, flutist; Priscilla Smith, oboist; Aya Hamada and Jeffrey Grossman, harpsichordists...
James R. Oestreich, The New York Times, PDF of full review
... With two violins, cello and harpsichord...they produced elegant string playing that was immaculate in tuning and balance, with bowing and intonation that was a lesson to other groups. They could well feel they had done more than enough to take the award.
David Denton, Early Music today, PDF of full review
[Performance with the Sebastians (Daniel Lee and Alexander Woods, violins; Ezra Seltzer, ’cello) as finalists in the York Early Music Festival]
‘Newbie’ New York-based ensemble Fire & Folly aims to bring to audiences the ‘improv’ roots of Baroque music. [They] shook the foundations of the Beacon Hill Friends House with the high energy program, ‘Mixed Marriages.’
American Recorder, PDF of full review
[Performance with Fire & Folly (Abigail Karr, violin; Rachel Begley, recorders/bassoon; Ezra Seltzer, ’cello) at the Boston Early Music Festival Fringe Festival]
...technically adept and expressive performances.... gracefully wrought renditions of works including sonatas by Castello and Merula's Ciaccona.
Vivien Schweitzer, The New York Times, PDF of full review
[Performance with Concitato (Joan Plana and Silvio Richter, violins; Ezra Seltzer, ’cello]
These mostly recent motets... are, as ever, muscularly singable and embraced as such by Jeffrey Grossman's well-drilled but not over-drilled choir. There is a freshness and spontaneity that recalls university glee clubs of a bygone age but delivered with both intimacy and weight: a near-ideal recording.
Brian Morton, Choir & Organ, PDF of full review
Pianist Jeffrey Grossman remains a sensitive and fluent accompanist throughout.... The nine short piano pieces, played with flair and conviction by Grossman...
Walter Simmons, Fanfare magazine, PDF of full review
Performances are first-class. Forsythe clearly is a singer in the early stages of a distinguished career; we will hear more of her. Grossman is similarly sensitive.
Phillip Scott, Fanfare magazine, PDF of full review
The performances are obviously very committed—Jeffrey Grossman is a fine pianist and I'd love to hear him in piano works by any of the composers already named for he has a fine technique...
Bob Briggs, MusicWeb International, link to full review
Sarah Darling and Jeffrey Grossman perform ably and with dedication...
Jens F. Laurson,
Fanfare magazine, link to full review
PDF of full review
... the two soloists, Jeffrey Grossman and Sarah Darling (both violin and viola) being persuasive advocates of contemporary music.
David's Review Corner, PDF of full review
Performances are skillful and obviously authoritative.
Allen Gimbel, American Record Guide, PDF of full review
