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Mira Wang

Mira Wang has built a remarkable bridge from her time as a child prodigy in Beijing, China to an acclaimed soloist on the world stage today.

She has appeared as a soloist with many prestigious orchestras all over the world including the Boston Symphony Orchestra, Staatskapelle Dresden, Royal Liverpool Philharmonic, Orchestre de la Suisse Romande, Saarbrücken Radio Orchestra, New Zealand Symphony Orchestra, Singapore Symphony Orchestra, Hong Kong Philharmonic and NDR Philharmonic Hannover. 

An avid chamber musician, Mira’s partners include Hélène Grimaud , Oli Mustonen, Alice Sara Ott, Lise de la Salle, Louis Lortie, Jeremy Denk, Pamela Frank, Daniel Müller-Schott, Gautier Capucon, Jan Vogler,  Lawrence Power and Lars Anders Tomter.

She is an enthusiastic exponent of contemporary music, premiering the violin concerto Spring in Dresden by Chinese-American composer Chen Yi with the Staatskapelle Dresden, conducted by Ivan Fischer and John Harbison’s Double Concerto for Violin and Cello with the Boston Symphony Orchestra, under the direction of Carlos Kalmar.  In 2015 she premiered the double concerto by Wolfgang Rihm, with Jan Vogler and the Orpheus Chamber orchestra at Carnegie Hall. In 2018, She premiered a triple concerto “Alisma” by Swiss composer William Blank with Jan Vogler, Daniel Ottensamer and the Philharmonische Staatsorchester Hamburg, conducted by Kent Nagano at Elbphilharmonie in Hamburg. 

Mira has recorded extensively for many labels including Sony Classical and Edel Classics.  Her discography includes violin concerto No. 2 by Prokofieff with the Saarbrücken Radio Symphony, the violin concerto No. 3 by Saint-Saens with NDR Philharmonic Hannover, a duo album with cellist Jan Vogler and several chamber music recordings with Artists of the Moritzburg Festival.

Mira has been Artistic Director of the Model Room Musicales concert series in New York City since 2005 and in 2013, she became Director of the Moritzburg Festival Academy in Germany, a training program for young musicians that is part of the annual Moritzburg Chamber Music Festival.

Born in China, Ms. Wang studied at Central Conservatory in Beijing.  She was sponsored by renowned violin teacher, the late Roman Totenberg to further her studies at Boston University, where she graduated summa cum laude and received the prestigious Kahn Award given to outstanding performers.  She has won 1st prizes in several international violin competitions including the Geneva Competition.

 

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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