Brian Mark

Clarinet, Keyboard, Piano, Piano Composition, Pop Piano, Rock Piano


New York based pianist Brian Mark has been hailed as an “attractive and intelligible” artist (Boston Musical Intelligencer), whose work "preserves the vibrancy and relevance of contemporary art music" (NY Examiner). The American Composers Forum esteemed Brian as an "intelligent, modern composer who employs many media elements and does so with marked idiosyncrasy and depth”, and his concert programming has recently been described as “a fluid approach to presenting new music in fresh contexts and juxtapositions” (The New Yorker).

He's also an accomplished versatile accompanist and organist, who has worked with many professional organizations and ensembles in San Francisco, New York City and London, UK. From 2007-2008 he served as a Musical Director at a Methodist in San Francisco, and was an organist for a local church in Stoke Newington from 2014-2017.

In addition to classical music, he is well experienced and varied in jazz, musical theatre, pop, rock, and new age. On both US coasts, he has performed constantly at recitals and social events, such as weddings, cocktail parties, art gallery openings, auditions, and other various functions. In 2010 he had the opportunity to perform as a pianist in many styles and genres for an opening exhibit in Manhattan with the prestigious David Tutera, the director of We TV's My Fair Wedding (shown on Wetv).

As a classical pianist, he has accompanied SF tenor A.J. Gluekert at the San Francisco War Memorial & Performing Arts Center, Berkeley based Soprano Ann Moss at the San Francisco Conservatory of Music, and recently worked with NY Soprano based Karmen Kluge for a performance as Suzanna (in Marriage of Figaro) with the Brooklyn Opera. In addition, he worked with SF Coloratura Soprano Stephanie Reneé Wetter in the Castro of San Francisco (restaurant recently closed) in the Fall of 2005. Also, he accompanied with Ms. Kluge for an audition of an aria from Mozart "Cosě fan tutte", as well as accompanying a vocalist on some Debussy Art Songs for a Vocal Competition at Hewlitt Public Library.

As a solo pianist, he has performed at the San Francisco War Memorial & Performing Arts Center, The San Francisco Conservatory Hellman Recital Hall, Galapagos Art Space in Brooklyn, and Roulette in New York City. He made his UK debut performing at The Forge, Camden in June of 2012.

In addition to serving as a pianist for various high school and middle school music theatre productions in San Francisco, he was the sub accompanist and an acting Music Director for the Bay Theatre District rehearsals of "The Fantastiks" at the Actors' Equity in Midtown, and was hired as a cabaret accompanist and an arranger (opening song for show) for an Off-Off Broadway Musical Theatre Review show ("The Swinging Office 60's Christmas Party) with Bizarre Noir Productions, which was performed at the Theater's Players Loft in the Village in 2008. That year he was also the pianist and assistant Music Director for Urban Academy's Musical Theatre Review Program.

In July of 2013, Brian was the conductor for Thames Christian College’s musical theatre production of “EVITA”. He recently made his West End debut in August of 2014, accompanying Lady Celeste’s “A Star is (Re) Born” for her limited performance run at the Camden Fringe Phoenix Artist Club.

Brian has a PhD from the Royal Academy of Music, a Master of Music from the San Francisco Conservatory of Music, and a Bachelor of Music from Boston's Berklee College of Music.

I have years of experience teaching theory, harmony and composition both privately in the United States and the UK, such as the Berklee College of Music and the San Francisco Conservatory, including working with the Associated Board of the Royal Schools of Music from 2011 to 2017. I am very passionate with my abilities to teach privately and in a classroom setting, as I am attentive to each individual with respect to their musicianship, technique, and development. My skills as a pianist and accompanist would also be an asset for this role, as I have taught solfege and ear training in a collegiate setting, based on my instrumental technique and conducting abilities. I have prepared many students in London for their Music Theory exams in conjunction with their performance auditions through the ABRSM system in the United Kingdom. Moreover, I have also prepared composition students for entry into the major conservatories across London.

I have assisted both graduate and postgraduate students for concert performances and composer collaborations, during my PhD and MMus studies (Royal Academy of Music and San Francisco Conservatory of Music), including forming performance opportunities with post-graduates at conservatories in New York City, such the Juilliard School, Manhattan School of Music, and Mannes School of Music (from 2008-2011). In addition to teaching and research in Post Graduate and PhD studies, I have served as an administrative assistant and intern for the New Century Chamber Orchestra in San Francisco, and a current participant with The Mendelssohn Project in New York City since 2008, where I proofread and serve as a copyist for lost manuscript/scores of the composer.

When I attended the San Francisco Conservatory of Music from 2004-2006, I assisted my professors in setting up composer platform concerts, for both graduates and undergraduates. While attending the Bowdoin International Music Festival in 2006, I was the resident counselor, enabling students to attend concerts, participate in resident activities, and assisted teaching staff for rehearsals, lunch/dinner preparations, and other coordination for performances and events.

I have recently finished my 2 year residency as an Associate with the London Symphony Orchestra’s Soundhub Composer Scheme from 2015-2017, where I collaborated with symphony performers, including the chance to interview emerging American composers through the LSO’s Soundhub Radio Broadcast platform on Resonance FM. My brief curation with Resonance FM enabled this UK audience to be exposed to a wide variety of new American voices in composition.

During these interviews we had often talked about aesthetics and musical analysis, including the theoretical and technical processes that went into creating the works discussed.



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