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Stewart Rose

Stewart Rose


Principal, Orpheus Chamber Orchestra; Orchestra of St. Luke's; St. Luke's Chamber Ensemble

Stewart Rose French horn player is Principal Horn with the Orpheus Chamber Orchestra and the Orchestra of St. Luke’s. He was Principal with the New York City Opera for 24 years and in recent seasons has been guest principal with the New York Philharmonic, Philadelphia Orchestra, Metropolitan Opera Orchestra, Saito Kinen Festival Orchestra and the St. Paul Chamber Orchestra. He is a frequent guest with the Chamber Music Society of Lincoln Center and has performed with the Met Chamber Ensemble under James Levine. Last season he was soloist in Britten’s “Serenade” for tenor, horn and strings with Ian Bostridge and the Orchestra of St. Luke’s at Carnegie Hall.

 Mr. Rose has performed on numerous recordings in a variety of musical genres. Recent releases include his appearance as first horn on the New York Philharmonic’s DG release of “Harold in Italy” with Lorin Maazel, Sebastian Currier’s “Time Machine” with Anne-Sophie Mutter and Alan Gilbert, and Andrea Bocelli’s “Concerto: One Night in Central Park 2011” on Decca; Mahler Symphony No.1 with the Saito Kinen Orchestra under Seiji Ozawa (Decca); Renee Fleming sings “Bel Canto” with the Orchestra of St. Luke’s (Decca); and Mozart Piano Concertos with Jonathan Biss and the Orpheus Chamber Orchestra (EMI). Other recordings include Lady Gaga and Tony Bennett “Cheek to Cheek”, Paul Simon’s recent releases “You’re the One” and “Songs From the Capeman”, Lenny Kravitz “Love Revolution”, solo horn on Pat Metheny's soundtrack for “A Map of the World”, and soundtracks for “Beauty and the Beast”, “Cape Fear” and “The Untouchables”. He has appeared on numerous “Live from Lincoln Center” broadcasts with the Orchestra of St. Luke’s, the New York City Opera and the New York Philharmonic, and is a frequent guest with the “CBS Late Show Orchestra”.

The New York Times critic John Rockwell has noted Stewart Rose for his “remarkable virtuosity, agility and fluency, and his ability to retain the horn's cheery rusticity.”

Buffalo Globe critic Herman Trotter said of “From the Forest”: “This is a recording to be treasured, not only by horn players but by average music lovers searching for new frontiers of musical excellence.”

"Stewart Rose's horn solos were eloquent and sure. The instrument can play dirty tricks on the best of performers but was on its best behavior here" said The New York Times, Feb. 8, 2007

And “forceful yet elegant playing”wrote The New Yorker, Feb. 2007

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