David Grossman

Bass

Double bassist and composer David J. Grossman enjoys a multi-faceted musical career on both the East and West Coasts. Born and educated in New York City, he joined the New York Philharmonic as its youngest member in Spring 2000, and has continued to be a member since.

As a soloist and clinician, Mr. Grossman has given recitals and master classes at many prestigious venues and music schools across the country, including The Boston Conservatory, Yale School of Music, the Hartt School of Music, Penn State University, and the New York Summer Music Festival, as well as faculty recitals at the Manhattan School of Music, among others. Mr. Grossman has released two albums (one classical and one jazz) entitled “The Bass of Both Worlds”, available from his website, www.davidjgrossman.com.

Mr. Grossman, also a passionate chamber musician, performs in the New York Philharmonic Ensembles Concerts at Merkin Hall, has performed at the 92nd Street Y, with the Chamber Music Society of Lincoln Center, to name a few collaborative partners. In the field of jazz, Mr. Grossman was a member of the Marcus Roberts Trio and has performed with Wynton Marsalis, Lew Tabackin, Toshiko Akiyoshi, and Donald Vega, among many others.

Mr. Grossman’s compositions include Mood Swings for trombone and double bass, written for New York Philharmonic Principal Trombone Joseph Alessi, Fantasy on “Shall We Gather at the River?”, available on former New York Philharmonic English Horn Thomas Stacy’s recording, Plaintive Melody; and two early compositions: Swing Quartet and String Quintet No. 1, which were premiered by The Chamber Music Society of Lincoln Center.

Mr. Grossman is also an ardent educator; as a member of the double bass faculty of Manhattan School of Music, and this Fall (2017) will be joining the Mannes School of Music Faculty as well.

SESSION

Set in out of the ordinary locales, SESSION is a unique experience where LACO musicians join forces with compelling composers. Each program is designed to fit the unique properties of a space and test ideas about the relationship between performers and audience.

Sound Investment

Meet the composer, hear excerpts of the score-in-progress and attend a full orchestral rehearsal of the completed work.