David Hertzberg (b.1990) is swiftly garnering recognition, with recent seasons seeing performances at the festivals of Aspen, Tanglewood, and Santa Fe, and on the stages of Lincoln Center, the Kennedy Center, and Carnegie Hall (Opera News, The New York Times).
Highlights of his 2014-2015 season include premieres of new works for Young Concert Artists and the PRISM Quartet, with performances at Merkin Hall and Symphony Space, as well as performances at the Kennedy Center, a feature on APM’s Performance Today, a performance at Hong Kong’s The Intimacy of Creativity festival, and a reading with the Pittsburgh Symphony Orchestra. Other upcoming projects include a large-scale concert work for Gotham Chamber Opera, to be premiered on their 2015-2016 season in New York.
Recent engagements include works for sopranos Julia Bullock and Jennifer Zetlan, pianists Ursula Oppens and Steven Lin, the Juilliard Orchestra, the Curtis Orchestra, the New Juilliard Ensemble, the Flux Quartet, the Dover Quartet, and the New Fromm Players.
Recent distinctions include those from Gotham Chamber Opera, the American Academy of Arts and Letters, the American Composers Forum, Copland House, Yaddo, Tanglewood, ASCAP, BMI, and Young Concert Artists, where he currently serves as Composer-In-Residence.
David began his musical studies at the Colburn School in Los Angeles and received his Bachelor and Master of Music degrees with Scholastic Distinction from the Juilliard School, where he studied with Samuel Adler. At his commencement, he was awarded the John Erskine Prize for outstanding artistic achievement throughout the course of his studies. He is currently pursuing an Artist Diploma at The Curtis Institute of Music, where he holds the Anthony B. Creamer III fellowship.
Nympharum, a cantata for high soprano and orchestra
performed by Jennifer Zetlan and the Juilliard Orchestra (2011)
In The Composer’s Own Words:
In the opening stanzas of The Auroras of Autumn (from which my work’s title is drawn), Stevens uses the image of a serpent thrashing after having shed its skin, glimmering and flashing as if possessed, as a metaphor for the majestic beauty of the Northern Lights. I found this idea, of something primordial, that is at once terrifying and arrestingly beautiful, to be a very poignant one, and one ripe for musical expression. With Spectre of the Spheres I sought to create something that moves and breathes like the unfettered Aurora, with a reckless vitality, inexorably, and of its own mystical accord.