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Jonathan Salamon

Jonathan (Jon) Salamon is a harpsichordist and scholar specializing in Baroque music. He is Visiting Assistant Professor of Music at Bard, where he directs the Bard Baroque Ensemble and teaches courses in music theory, ear training, and music history. 

Jonathan has performed across the U.S. and abroad in concerts and festivals, including at the Bach Virtuosi Festival, Midtown Concerts Series, and Harpsichord Heaven, and at venues including Carnegie Hall, the Jewish Museum, the Guggenheim, the Morris Steinert Collection of Musical Instruments, and the Conservatorium van Amsterdam, among others. He was awarded Third Prize at the Mathieu Duguay Early Music Competition. Jonathan is currently the Principal Keyboardist with the Chamber Orchestra of New York, with whom he made his Carnegie Hall debut as soloist in J.S. Bach’s Harpsichord Concerto in D minor. 

A committed educator, Jonathan was previously Adjunct Assistant Professor at SUNY Purchase, where he taught courses in music history and writing. 

Jonathan’s research focuses on the keyboard music of Bach, Handel, and their contemporaries, using schema theory and the partimento tradition to examine issues of style transmission and pedagogy in the long eighteenth century. He has presented research at conferences hosted by the American Bach Society, the American Handel Society, the Historical Keyboard Society of North America, and the Society for Music Analysis, among others. Jonathan’s writing has appeared in the journal Min-Ad, in Harpsichord & Fortepiano Magazine, and in La Voce di New York, where he was formerly a concert reviewer. Since 2023, he has co-convened several virtual conferences on galant schema theory. Ongoing projects include a co-edited volume on schema theory and an article on J.S. Bach’s embodied keyboard practices in BACH: Journal of the Riemenschneider Bach Institute.

His research has been supported by a Fulbright grant to the Netherlands and a Gates Cambridge Scholarship at the University of Cambridge. He holds a Bachelor of Music in Piano Performance from NYU and Master of Music and Doctor of Musical Arts degrees in Harpsichord Performance from the Yale School of Music.

www.jonathansalamon.com

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Benjamin Hochman

‘Classical music doesn't get better than this’ — The New York Times.

In all roles, from orchestral soloist, recitalist and chamber musician to conductor, Benjamin Hochman regards music as vital and essential. Composers, fellow musicians, orchestras and audiences recognize his deep commitment to insightful programming and performances of quality. An Avery Fisher Career Grant recipient, he has performed at the Wigmore Hall, Berlin Philharmonie, Vienna Konzerthaus, Amsterdam Concertgebouw, Carnegie Hall, and Suntory Hall. His festival appearances include Lucerne, Schubertiade Schwarzenberg, Krzyżowa-Music, Marlboro Music and Santa Fe.

Hochman’s recent and upcoming highlights include playing Beethoven’s Piano Concerto No. 3 with the Rheinische Staatsphilharmonie conducted by Benjamin Shwartz; conducting the Szeged Symphony and Orlando Philharmonic; solo recitals in Paris, Berlin, and Hitzacker; and chamber music at Tanglewood and Nymphenburger Sommer. He tours with the Curtis Institute of Music to Berlin, Bremen, Stockholm, and Vienna, and curates Signs, Games, and Messages, the Kurtág Festival at Bard College, New York, where he has served as Artistic Director since 2022.

Hochman’s 2024 Avie Records release, Resonance, features Beethoven, George Benjamin, Josquin, and Dowland, praised by Gramophone for its “subtle timbral palette and keen ear for texture.” Earlier albums include Homage to Schubert and Variations, a New York Times “Best Recording of the Year.”

Born in Jerusalem in 1980, Hochman studied with Claude Frank at the Curtis Institute of Music and Richard Goode at the Mannes School. At Mitsuko Uchida’s invitation, he spent three formative summers at the Marlboro Music Festival, during the same period that he was a member of the Bowers Program of the Chamber Music Society of Lincoln Center.

At 24, he made his Carnegie Hall debut with the Israel Philharmonic under Pinchas Zukerman, leading to engagements with the New York and Los Angeles Philharmonics, the Chicago and Pittsburgh Symphonies, Ottawa’s National Arts Centre Orchestra, and the Prague Philharmonia. He has performed under conductors including Gianandrea Noseda, Trevor Pinnock, and David Robertson.

In 2015 Hochman developed an autoimmune condition affecting his left hand, which led him to pursue his longstanding interest in conducting. At Juilliard he studied with Alan Gilbert, receiving the Bruno Walter Scholarship and the Charles Schiff Award. Soon after, he conducted the orchestras of Santa Fe Pro Musica, Greater Bridgeport Symphony, and The Orchestra Now at Bard College.

Fully recovered, he returned to the piano in 2018, recording Mozart’s Piano Concertos Nos. 17 and 24 as pianist and director with the English Chamber Orchestra (Avie Records). He went on to present the complete Mozart Sonatas, perform Beethoven sonatas for Daniel Barenboim at the Pierre Boulez Saal in Berlin, and play both Beethoven and Kurtág for Kurtág himself at the Budapest Music Centre.

A Steinway Artist, he lives in Berlin and teaches at Bard College Berlin.

https://www.benjaminhochman.com/