Susan Grace and Steven Beck have earned recognition as soloists and chamber musicians and now come together to form one of the most dynamic piano duos before the concert-going public. Quattro Mani's intense involvement with modern repertoire has led to dedications and collaborations with leading composers, including George Crumb, Paul Lansky, Tod Machover, Poul Ruders, Michael Daugherty and Fred Lerdahl. Their first two recordings, Lounge Lizards and Restructures, were released by Bridge Records to critical acclaim, featuring works by American and European composers. A third recording of Stefan Wolpe two-piano works will be released in April, 2019.
Their first concerto performance of Paul Lansky's Shapeshifters and Fitkin’s Circuit with the Austin Symphony Orchestra had such chemistry that on that occasion, The Austin Chronicle named the Austin Symphony Orchestra with Quattro Mani as one of the Top 10 Classical Treasures of 2013. “On a fine program mixing old and new music, the 21st century works by Fitkin and Lansky struck sparks—the former deliciously mercurial, the latter pleasurably suspenseful.” Other performances include the Alabama Symphony, Colorado College Intermezzo Series and Summer Music Festival, Colorado Symphony Drum Show, as well as Subculture, Bargemusic, National Sawdust and Weill Recital Hall at Carnegie Hall and Steinway Hall, all in NY, La Labortoire Cambridge, and Curtis Institute in Philadelphia. Quattro Mani records for and is managed by Bridge Records.
Fred Lerdahl studied at Lawrence University, Princeton, and Tanglewood. He has taught at UC/Berkeley, Harvard, and Michigan, and since 1991 he has been Fritz Reiner Professor of Music at Columbia University.
Commissions have come from the Fromm Foundation, the Koussevitzky Foundation, the Spoleto Festival, National Endowment for the Arts, the Chamber Music Society of Lincoln Center, the Library of Congress, Chamber Music America, and others. Among the organizations that have performed his works are the New York Philharmonic, the Pittsburgh Symphony, the San Francisco Symphony, the Seattle Symphony, the Cincinnati Symphony, the Los Angeles Philharmonic, the American Composers Orchestra, the Saint Paul Chamber Orchestra, Orpheus, the Boston Symphony Chamber Players, the Chamber Music Society of Lincoln Center, eighth blackbird, Speculum Musicae, Collage, Argento, Talea, the Peabody Trio, the Juilliard Quartet, the Pro Arte Quartet, the Daedalus Quartet, Ensemble XXI, Lontano, and the Venice Biennale.
He has been in residence at the Marlboro Music Festival, IRCAM, the Wellesley Composers Conference, the American Academy in Rome, the Bowdoin Summer Music Festival, the Yellow Barn Music Festival, the Beijing Modern Music Festival, the Etchings Festival, the Saint Paul Chamber Orchestra, and the Center for Advanced Study in the Behavioral Sciences. Lerdahl’s music has been commercially recorded on several labels and Bridge Records has established “The Music of Fred Lerdahl” portrait series.
His seminal book A Generative Theory of Tonal Music, co-authored with linguist Ray Jackendoff, is a founding document for the growing field of the cognitive science of music. His subsequent book, Tonal Pitch Space, won the 2003 distinguished book award from the Society for Music Theory and an ASCAP-Deems Taylor award. A third book (in progress), Composition and Cognition, based on his 2011 Bloch Lectures at UC/Berkeley, will bring together his dual activity as composer and theorist.
In 2010 Lerdahl was honored with membership in the American Academy of Arts and Letters. Three of his works composed since 2000—Time after Time for chamber ensemble, the Third String Quartet, and Arches for cello and chamber orchestra—have been finalists for the Pulitzer Prize in music.
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