Mike Marshall, Edgar Meyer,
George Meyer, and Bryan Sutton


Saturday, January 21, 2023 | 7:30 PM
Bing Concert Hall



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PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones and watch alarms. Photography and recording of any kind are not permitted. Thank you.


Mike Marshall, mandolin
Edgar Meyer, bass
George Meyer, violin
Bryan Sutton, guitar


Mike Marshall
Mike Marshall made his Carnegie Hall debut at the age of 20 with jazz violin legend Stephane Grappelli as a member of the David Grisman Quartet. In 1985 he would perform in that famed hall with his own classical ensemble The Modern Mandolin Quartet in 1985.

Mike has been at the forefront of New Acoustic music for over 40 years having been the founding member of many groups including the Montreux Band, Psychograss, Choro Famoso and The Anger Marshall Band. He is indeed a living compendium of musical styles and has the ability to seamlessly blend his American roots background with a deep understanding of European classical music, Brazilian choro and other world music. Mike is a fluid Jazz improviser and a master on mandolin, guitar, mandocello and violin.

Between 1999 and 2003 Mike collaborated with Joshua Bell, Edgar Meyer, Bela Fleck and Sam Bush on two separate projects. These groups toured the U.S.A. extensively and performed at the Aspen Music Festival, San Francisco Performances and Chamber Music at Lincoln Center, NY. Both ensembles were nominated for Grammy Awards for their Sony Classical releases. In 2014 Mike was nominated for his third Grammy Award for his recording with the Turtle Island Quartet.

Currently Mike is touring with German mandolin virtuoso Caterina Lichtenberg. The two have released two cds on the Adventure Music label and have performed at the Carmel Bach Festival, The Savannah Music Festival, the Bach Haus Liepzig, Germany and the Rockygrass Bluegrass Festival in Colorado and have been soloists with the New Century Orchestra under Nadja Salerno-Sonnenberg, and Orchester l’arte del mondo from Cologne, Germany. Their most recent recording is a CD of Johann Sebastian Bach duets performed on mandocello and mandolin.

Mike’s past duet projects have included tours and Cds with mandolinists Chris Thile, violinist Darol Anger, bassist Edgar Meyer, Brazilian Mandolinist Hamilton de Holanda and pianists Jovino Santos Neto and Andy Narell. His recordings can be found on the Windham Hill, Sony Classical, Rounder, Sugar Hill and Compass labels as well his own Adventure Music label.

As a music educator Mike is committed to passing on his knowledge through a variety of channels. He currently directs the Mike Marshall School of Mandolin through the ArtistWorks on-line educational company where he is teaching hundreds of mandolinists from around the world. He has published six books on mandolin technique and has produced three video instruction DVDs.

Since 2012 Mike has been the director of the Acoustic Music Seminar at the Savannah Music Festival where he hand-selects fifteen of the brightest young acoustic music virtuosos from around the world (ages 15 – 22) for a week of intensive study and musical inspiration.

Between 2003 and 2015 Mike directed the Mandolin Symposium at the University of California in Santa Cruz with partner David Grisman and in 2017 he will be launching the Global Mandolin Retreats project, which will be a mandolin educational experience located in various inspiring locations around the world. Mike splits his time currently between his home in San Francisco, CA and Wuppertal, Germany where his wife, Caterina Lichtenberg holds the position of mandolin professor at the Cologne Music Conservatory.

Edgar Meyer
In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other.  Hailed by The New Yorker as “...the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience.  His uniqueness in the field was recognized by a MacArthur Award in 2002.

As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s own Double Concerto for Bass and Cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and Meyer’s own Concerto in D for Bass.  He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello.  In 2006, he released a self-titled solo recording on which he wrote and recorded all of the music, incorporating piano, guitar, mandolin, dobro, banjo, gamba, and double bass.  In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of “The Best of Edgar Meyer”.  In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording “The Goat Rodeo Sessions” which was awarded the 2012 Grammy® Award for Best Folk Album.  Mr. Meyer was honored with his fifth Grammy® Award in 2015 for Best Contemporary Instrumental album for his Bass & Mandolin collaboration with Chris Thile. His most recent recordings are a collection of Bach Trios with Yo-Yo Ma and Chris Thile released in 2017 and the 2020 “Not Our First Rodeo,” a follow-up to the Grammy® Award winning “Goat Rodeo Sessions” album.

As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world.  His most recent work, New Piece for Orchestra, was premiered and commissioned by the Nashville Symphony and the Aspen Music Festival and School in 2017.  That same year The Academy of St. Martin in the Fields and the Bravo! Vail Music festival commissioned Mr Meyer to write Overture for Violin and Orchestra which was premiered by Joshua Bell and performed on the Academy’s 2018 US tour.  Mr. Meyer’s Concerto for Double Bass and Violin was premiered in 2012 by Joshua Bell and Mr. Meyer at the Tanglewood Music Festival with the Boston Symphony Orchestra.  The two artists also performed the work at the Hollywood Bowl with the Los Angeles Philharmonic, the Aspen Music Festival, and with the Nashville and Toronto symphony orchestras.  Mr Meyer was composer in residence with the Alabama Symphony in 2012 where he premiered his third concerto for double bass and orchestra.  Mr. Meyer has collaborated with Béla Fleck and Zakir Hussain to write a triple concerto for double bass, banjo, and tabla, which was commissioned for the opening of the Schermerhorn Symphony Center in Nashville.  The triple concerto was recorded with the Detroit Symphony Orchestra under Leonard Slatkin and featured on the 2009 recording The Melody of Rhythm, a collection of trio pieces all co-composed by Mr. Meyer, Mr. Fleck and Mr. Hussain.  Mr. Meyer has performed his second double bass concerto with the Los Angeles Chamber Orchestra and his first double bass concerto with Edo de Waart and the Minnesota Orchestra.  Other compositions of Mr. Meyer’s include a violin/piano work which has been performed by Joshua Bell at New York’s Lincoln Center, a quintet for bass and string quartet premiered with the Emerson String Quartet and recorded on Deutsche Grammophon, a Double Concerto for Bass and Cello premiered with Yo-Yo Ma and The Boston Symphony Orchestra under Seiji Ozawa, and a violin concerto written for Hilary Hahn which was premiered and recorded by Ms. Hahn with the St. Paul Chamber Orchestra led by Hugh Wolff.

Collaborations continue to be a central part of Mr. Meyer’s work.  In 2017 Mr. Meyer collaborated with fellow bassist Christian McBride showcasing their original music.  Also in 2017 he toured the US with Yo-Yo Ma and Chris Thile performing works from their Bach trios recording. Mr. Meyer’s previous performing and recording collaborations include duos with Chris Thile; a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush and Mike Marshall; a trio with Béla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor.  The latter collaborated for the 1996 Appalachia Waltz release which soared to the top of the charts and remained there for 16 weeks.  Appalachia Waltz toured extensively in the U.S., and the trio was featured on the David Letterman Show and the televised 1997 Inaugural Gala.  The Trio toured again in 2000 and recorded a follow up recording, Appalachian Journey, which was honored with a Grammy® Award.  In 2007 Mr. Meyer premiered a piece for double bass and piano with Emanuel Ax.  Mr. Meyer also performs with pianist Amy Dorfman, his longtime collaborator for solo recitals featuring both classical repertoire and his own compositions, Mike Marshall in duo concerts and the trio with Béla Fleck and Zakir Hussain which has toured the US, Europe and Asia together.   

Mr. Meyer began studying bass at the age of five under the instruction of his father and continued further to study with Stuart Sankey.  In 1994 he received the Avery Fisher Career Grant and in 2000 became the only bassist to receive the Avery Fisher Prize.  Currently, he is Visiting Professor of Double Bass at the Curtis Institute of Music in Philadelphia.

George Meyer
George Meyer writes music and plays the violin and viola. He is equally interested in classical music and fiddle playing, and the music he writes draws on both sources. He has performed his own compositions in a variety of settings, including Chamber Music Northwest, Bravo! Vail, the Savannah Music Festival, the Aspen Music Festival, the Telluride and RockyGrass Bluegrass Festivals, and the 92nd Street Y. He has been commissioned by Chamber Music Northwest, Katie Hyun with Astral Artists, and Bravo! Vail. 

Highlights of 2022 included an 11-city tour with Sam Bush, Mike Marshall, and his father Edgar Meyer in January and February, and a Michael Hersch premiere in Carnegie Hall as a guest of Decoda Ensemble in March. In April, his arrangement of a traditional bluegrass gospel song (as performed by Tim O’Brien) for the Aizuri Quartet featured in their opening sets for five Wilco shows at the United Palace in New York City. In September, his 2013 piece for solo string quartet with string orchestra, Concerto Grosso, featured in the New York Classical Players’ three season-opening concerts with Stella Chen, Emma Frucht, Gabriel Cabezas, and George as soloists.

His violin teachers have included Naoko Tanaka, Laurie Smukler, Stephen Miahky, Lucy Chapman, Jennifer Frautschi, Carolyn Huebl, and Carol Smith. He holds degrees from Harvard College and the Juilliard School. He is from Nashville, TN.
@georgemeyermusic on Instagram

Bryan Sutton
Bryan Sutton is the most accomplished and awarded acoustic guitarist of his generation, an innovator who bridges the bluegrass flatpicking traditions of the 20th century with the dynamic roots music scene of the 21st. His rise from buzzed-about young sideman to first-call Nashville session musician to membership in one of history’s greatest bluegrass bands has been grounded in quiet professionalism and ever-expanding musicianship.

Sutton is a Grammy Award winner and a nine-time International Bluegrass Music Association Guitar Player of the Year. But these are only the most visible signs of Sutton’s accomplishments. He inherited and internalized a technically demanding instrumental style and become for young musicians of today the same kind of model and hero that Tony Rice and Clarence White were for him. And supplementing his instrumental work, he’s now a band leader, record producer, mentor, educator and leader in online music instruction.     

Sutton was born in 1973 in Asheville, NC, an area rich in bluegrass and mountain music that he’s called an ideal environment to develop as a musician. His grandfather and father played together in a band, modeling a life in music for Bryan, who picked up the guitar at age eight. He participated in community and family jams and was encouraged but never pressured to practice. He just did. His self-motivation helped him get familiar with a range of styles, and he studied some jazz guitar in North Carolina. His plans to attend the Berklee College of Music were however set aside by invitations to record as a sideman.

Sutton relocated to Nashville in 1994 to play sessions and over a year and a half built his resume and relationships. Then a studio-born friendship with bass player Mark Fain led to the job that would thrust him to prominence – playing guitar for star artist and musician Ricky Skaggs just as he reconfigured his band and his musical orientation from country to bluegrass. Ricky Skaggs and Kentucky Thunder was one of the very top bands of the 1990s resurgence of bluegrass music, and even in a large, loud band with three guitarists, Sutton’s punctuated, dynamic and whip-fast lead playing stood out. He was called a phenomenon and a virtuoso and the future of bluegrass guitar, something Sutton took in quiet stride.

After about three years with Skaggs, Sutton started a family and refocused on Nashville’s studios, where he rather quickly became the most called-upon acoustic guitarist in town. Today his discography reads like a roll call of Nashville’s last two decades, with credits on albums by Garth Brooks, Taylor Swift, Blake Shelton, Eric Church, Brad Paisley, Carrie Underwood and many more. Major commercial country sessions can leave a virtuoso in the background, but Sutton was also called on to play a prominent role in some of the most significant recording projects in modern day bluegrass and acoustic music, including Dolly Parton’s Grammy-winning The Grass Is Blue, Dierks Bentley’s Up On The Ridge, Charlie Haden’s Rambling Boy and The Dixie Chicks’ groundbreaking Home album.

Starting just before 2000, Sutton kicked off his career as a solo recording artist, assembling a star-studded band for his debut Ready To Go on Sugar Hill Records. On his second solo disc, Sutton turned back to his upbringing and his heart’s core for Bluegrass Guitar, featuring nine traditional standards, one original and an instrumental take on a Tim O’Brien song.

In recent years, Sutton has broadened his musical and professional reach. He has at last formed his own Bryan Sutton Band with wider ambitions to tour and record albums with live performance more centrally in mind. He’s produced several artists, notably the upstart all-female bluegrass band from Boston Della Mae. And he’s become the guitar instructor at the innovative video exchange learning site. Here Sutton is not only recording lessons for one-way instruction; he receives and critiques videos from students, engaging them individually from hundreds or thousands of miles away.

Accepting his most recent IBMA Award in 2015, Sutton focused his speech not on the people who’d helped him along the way (he’d done so amply in prior years) but rather on alerting the audience to a dozen or more young and emerging bluegrass guitar players who were worthy of attention. It was a gesture of magnanimity and humility that only bolstered the central role Sutton has secured in the history of the bluegrass guitar.


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