Born: Chicago, Illinois, USA

The American harpsichordist, Mitzi Meyerson, was born into a musical family, and began her concert career at the age of seven. After completing her university and graduate studies in Chicago and Oberlin, she moved to London to co-found the ensemble Trio Sonnerie (with Monica Huggett and Sarah Cunningham), with whom she performed and recorded extensively.

Mitzi Meyerson has released some fifty recordings, among them solo albums of Dietrich Buxtehude, Duphly, Forqueray (the complete works), and JKF Fischer, all to excellent critical acclaim. This last, entitled Musicalischer Parnassus, won the Diapason d'Or. Her recent releases include the complete suites for harpsichord of Georg Böhm (on the Glossa label, released in July 2003), a mixed French recital recorded on the Stehlin harpsichord at the Musikinstrumente Museum Berlin (Klingendes Museum, Summer 2003) and four complete ordres from Book IV of Francois Couperin (Glossa, November 2004).

In addition to her solo work, Mitzi Meyerson is the founder of The Bottom Line, a variable ensemble devoted to repertoire for bass and continuo instruments, which appears in major festivals across Europe. The most popular form of The Bottom Line is the Berliner Cembalo Ensemble, a group of three to five harpsichords, which has a continually growing repertoire. She is also Professor of Harpsichord at the Universität der Künste in Berlin (the first university in Europe to offer the study of the harpsichord, a position created especially for Wanda Landowska).

Mitzi Meyerson divides her time between a busy teaching schedule and many concert engagements throughout the world. Along with performances throughout Europe and North America, she appears every summer in the Far East for concerts and master classes. Among her other artistic endeavors is photography; she has presented several very successful one-woman shows in Germany and England.

From the Press

German-based American harsichordist Mitzi Meyerson is an ideal interpreter of this music and consistently displays both a superb technique and a persuasive musicality. Her flexibly nuanced playing never fails to be sensitive to the character if each individual movement, and thus it succeeds in conveying the variety and scope of this encyclopedic work. An aesthetic experience of the first order awaits the listener of this new recording.
Early Music America, Winter 2001-02

Source: Mitzi Meyerson Website
Contributed by Teddy Kaufman (December 2006)

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