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Matt Haimovitz

Renowned as a musical pioneer, cellist Matt Haimovitz has inspired classical music lovers and countless new listeners by bringing his artistry to concert halls and clubs, outdoor festivals and intimate coffee houses, any place where passionate music can be heard. Through his visionary approach--bringing a fresh ear to familiar repertoire, championing new music and initiating groundbreaking collaborations, innovative recording projects for Oxingale Records, a tireless touring schedule as well as mentoring an award-winning studio of young cellists at McGill University's Schulich School of Music in Montreal--Haimovitz is defining what it means to be an artist for the 21st century.

Haimovitz made his debut in 1984, at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic. At 17 he made his first recording with James Levine and the Chicago Symphony Orchestra, for Deutsche Grammophon. Haimovitz has since gone on to perform on the world's most esteemed stages, with such orchestras and conductors as the Berlin Philharmonic with Levine, the New York Philharmonic with Mehta, the English Chamber Orchestra with Daniel Barenboim, the Boston Symphony Orchestra with Leonard Slatkin and the Montreal Symphony Orchestra with Kent Nagano. Haimovitz made his Carnegie Hall debut when he substituted for his teacher, the legendary Leonard Rose, in Schubert's String Quintet in C, alongside Isaac Stern, Shlomo Mintz, Pinchas Zukerman and Mstislav Rostropovich.

The solo cello recital is a Haimovitz trademark, both inside and outside the concert hall. In 2000, he made waves with his Bach “Listening-Room” Tour, for which, to great acclaim, Haimovitz took Bach's beloved cello suites out of the concert hall and into clubs across the U.S., Canada, and the U.K. Haimovitz's 50-state Anthem tour in 2003 celebrated living American composers, and featured his own arrangement of Jimi Hendrix's “Star-Spangled Banner.” He was the first classical artist to play at New York's infamous CBGB club, in a performance filmed by ABC News for “Nightline UpClose.”

Haimovitz's recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records, the trailblazing independent label he founded with composer/producer Luna Pearl Woolf.

Matt Haimovitz's recent projects include Figment, an album and listening room tour of (mostly) solo cello music, exploring the musical riches and diversity of his two home countries, the US and Canada; AKOKA (tour and live recording), reframing Messiaen's Quartet for the End of Time with works by klezmer clarinetist David Krakauer and electronic and beats artist Socalled; frequent performances with his McGill colleagues violinist Jonathan Crow and violist Douglas McNabney; Mark O’Connor’s string quartets with O'Connor, Ida Kavafian, and Paul Neubauer; chamber music with Leon Fleisher, Menahem Pressler and Michael Tree; touring with the Berlin Chamber Orchestra, as well as a live recording of Schumann's Cello Concerto with Gregory Nowak and the Orchestre de Bretagne, Ligeti's Cello Concerto with Denys Bouliane and the Contemporary Music Ensemble of McGill University and a series of concerto commissions with Kent Nagano and the Montreal Symphony.

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2
Album Review

Matt Haimovitz: Orbit: Music for Solo Cello (1945 – 2014)

Read "Orbit: Music for Solo Cello (1945 – 2014)" reviewed by C. Michael Bailey


The solo cello repertoire is dominated completely by Johann Sebastian Bach's Six Suites for Unaccompanied Cello, BWV 1007-1012. While there exists much more solo cello music than this, the majority of commercial media releases are of Bach's mountain. So, what a about a sampler of solo cello music other than Bach? Matt Haimovitz provides us exactly that with Orbit: Music for Solo Cello (1945-- 2014). Rather than one more prim exposition of the Suites or an avant-garde exploration of the ...

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Interview

Matt Haimovitz: Rare Birds

Read "Matt Haimovitz: Rare Birds" reviewed by Ian Patterson


It's a fairly audacious idea for a cello octet to interpret the music of jazz icons such as bassist Charles Mingus, trumpeter Miles Davis and saxophonist Ornette Coleman, never mind the Mahavishnu Orchestra, but clearly, as seen on the compelling Meeting of the Spirits, cellist Matt Haimovitz loves a challenge. Challenge is something he's used to, since debuting at the age of 13 as soloist with the Israeli Philharmonic conducted by Zubin Mehta. For Haimovitz, one of the biggest challenges ...

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Interview

Cellist Matt Haimovitz Interviewed at All About Jazz

Cellist Matt Haimovitz Interviewed at All About Jazz

Source: All About Jazz

It's a fairly audacious idea for a cello octet to interpret the music of jazz icons such as bassist Charles Mingus, trumpeter Miles Davis and saxophonist Ornette Coleman, never mind the Mahavishnu Orchestra, but clearly, as seen on the compelling Meeting of the Spirits, cellist Matt Haimovitz loves a challenge. After two dozen albums, Haimovitz, in close collaboration with arranger/composer David Sanford, has turned his attention to the jazz world, putting his octet Uccello through the paces with the additional ...

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Recording

Matt Haimovitz and Uccello release MEETING OF THE SPIRITS: Jazz milestones re-imagined for a big band of cellos

Matt Haimovitz and Uccello release MEETING OF THE SPIRITS: Jazz milestones re-imagined for a big band of cellos

Source: Shira Gilbert PR

"Haimovitz's ingenuity, inventiveness and the sheer range of sounds he is able to produce from his instrument is jaw-dropping." —All Music Guide OXINGALE RECORDS PRESENTS Matt Haimovitz | Uccello MEETING OF THE SPIRITS Jazz milestones re-imagined for a big band of cellos in arrangements by David Sanford FEATURING JOHN MCLAUGHLIN, ELECTRIC GUITAR MATT WILSON PECUSSION + JAN JARCZYK KEYBOARD DIGITAL RELEASE: SEPTEMBER 28, 2010 | CD RELEASE: NOVEMBER 9, 2010 Renowned for his fascinating and far-reaching ...

“Hearing a cello played with such fervor and commitment--not to mention high artistry--is a priceless experience.” - Los Angeles Times

“If classical music didn’t have Matt Haimovitz, it would have to invent him.” - The Boston Herald

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