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is a music theorist and performer on modern and historical keyboards, acclaimed for his “extreme virtuosity” (Alex Ross, New Yorker) and “effortless elegance” (NewMusicBox). He has been named a 2016 Fellow by the Leonore Annenberg Fellowship Fund for the Performing Arts.  Dedicated to new music performance, Daniel is a founding member of ensemble Oerknal!, a new music collective based in Netherlands, and has performed with members of Bang on a Can, eighth blackbird, and ICE. Highlights of 2015-6 include the release of Daniel’s first CD, featuring Tristan Perich’s Dual Synthesis, performances with Oerknal as ensemble-in-residence at Gaudeamus Muziekweek in Utrecht, and lectures, performances, and masterclasses at the Festival Internacional de Músicas y Artes Sonoras Contemporáneas in Cuenca, Ecuador. He received a 2015 Special Award from the Yvar Mikhashoff Trust with composer Nathan Heidelberger for a project combining 16th-century harpsichord works with new works for piano by Heidelberger. Daniel has also worked closely with composers including Christian Wolff, Jonathan Harvey, David Lang, Rand Steiger, and Lewis Nielson. Daniel gave the premiere of Perich’s Dual Synthesis for harpsichord and electronics and was invited to repeat the performance at Blip Festival 2012 as well as at The Kitchen (NYC) as part of Carnegie Hall’s American Mavericks Festival. 
    A recent graduate of Oberlin College and Conservatory, Daniel studied modern piano with Peter Takács, Ann Schein, and Sharon Mann, and historical keyboards with Webb Wiggins (harpsichord) and David Breitman (fortepiano and clavichord). As keyboardist for the celebrated Oberlin Contemporary Music Ensemble, he was selected to perform as soloist in Rand Steiger’s Double Concerto. His performance as 2012 Concerto Competition winner of Schoenberg’s Piano Concerto with the Oberlin Chamber Orchestra — the first in over three decades — was featured in the Young Artists Showcase on New York WQXR, lauded as “brilliant.” While at Oberlin, Daniel was Cleveland Orchestra Artist-in-Residence Fellow in 20th and 21st Century Music with Pierre-Laurent Aimard. He has performed on modern keyboards at Bang on a Can, Norfolk New Music Workshop, Aspen Music Festival, Kneisel Hall, Banff Piano Masterclasses, Music11, soundScape, SICPP, and Ravinia, and on historical keyboards at Berkeley Early Music Festival, Oberlin Baroque Performance Institute, and Midnight Sun in Finland, with duo partner violinist Elicia Silverstein.
    Daniel is currently a PhD Candidate and Presidential Scholar in Music Theory at Harvard University, specializing on topics ranging from ancient and medieval music theory, to Renaissance musical automata, to modernist intersections between music and the visual arts.  This fall, he will be a Graduate Fellow at Villa I Tatti, where he will pursue research into early modern enharmonic music theory in preparation for his dissertation.  He received the MPhil in Music Studies with distinction at University of Cambridge, where he was a Gates Cambridge Scholar and Derek Cornwell Scholar in Instrumental Performance. His articles appear in journals including Early Music History, Music Theory Online, Greek and Roman Musical Studies, Early Music, Études  grégoriennes, Landscape Architecture, and Music Report Magazine (translated into Farsi).

BIOGRAPHY : Daniel K. S. Walden
Recent Praise for Dual Synthesis (CD):

    "... one of the most outstanding recordings of new music in this century." 
    (George Grella, New York Classical Review, 12/4/2015)

    “The third piece, ‘Dual Synthesis,’ ... [is] scored for harpsichord, played by Daniel Walden, and 4-channel 1-bit electronics.         
    Here, the electronics are primarily emitting single repeated notes, almost like an echoing signal, as Walden strikes the                  
    harpsichord’s strings in fast, shimmering triplet figures that recall the lightning speed, maniacal shred arpeggios of guitarist 
    Mick Barr. At times, a human element enters into the music, as the stuttering rhythm seems to cause Walden to slow down as     
    he considers the next move; he doesn’t quite falter, exactly, but the listener, thinking that perhaps he might, is oddly thrilled 
    and concerned for him. As the piece continues, though, it becomes clear that the stuttering effect is highly deliberate, and is in 
    fact part of the score, which makes Perich’s compositional methods seem almost perverse, and more brilliant for it. Still later, 
    the music becomes more romantic and emotionally florid, somehow, almost bringing to mind the analog synthesizers of 1970s 
    progressive rock. Over its 23-minute running time, “Dual Synthesis” explores a startling array of moods.”  
    (Phil Freeman, Burning Ambulance, 12/2/2015)

• New Yorker (Alex Ross) reviews Tristan Perich’s Dual Synthesis at the American Mavericks Festival:
    "[Dual Synthesis was the] most arresting new piece of the Kitchen sub-series, and perhaps of the entire festival...mix[ing] saw-
    toothed textures with hallucinogenic arpeggios on a harpsichord, here played with extreme virtuosity by Daniel Walden.  The 
    antique machines of different ages came together in a hurtling form, savage and beautiful and strange." 
• Written in Music (Hennig Bolte) reviews Oerknal! @ Bimhuis, Amsterdam:
   "Het was vol spanning, speelplezier, schurende contrasten, hilarische momenten, diepe concentratie, groove, sprongen, passie,     
    verwondering. Het bood weinig gelegenheid voor de toeschouwer zich in te richten in vertrouwde luisterhouding. Het maakte 
    inzet voelbaar en stond zichzelf niet pretenderend in de weg. Het werkte steeds intens in en aan de muziek. Het slaagde erin de 
    toeschouwer deelgenoot te maken, een goed stuk complicité te laten kiemen.”

• NewMusicBox (Matthew Guerrieri) reviews John Cage’s A Book of Music at the SICPP Iditarod:
   "It was the prepared piano piece, Part II of A Book of Music, that felt both the most abstract and the most cosmopolitan 
   [of the Iditarod], its angled ostinati brittle, jazzy, Stravinskian, a flight of a bumblebee through a machine shop.  Performances 
   throughout the Iditarod were never less than solid, but this one was a standout for me, Aaron Likness and Daniel Walden         
   coursing through with effortless elegance.”

Copyright © 2016, Daniel Walden.  All Rights Reserved.
All-Schubert Program with Elicia Silverstein and Revd. Richard Lloyd Morgan at King’s College Chapel, Cambridge UK.                                      Photo Credit: Hanna Baumannhttp://www.eliciasilverstein.com/about/http://www.kings.cam.ac.uk/research/fellows/richard-lloyd-morgan.htmlshapeimage_8_link_0shapeimage_8_link_1
Photo Credit: Tristan Perich
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contemporary piano, historical keyboards, writing and research