Seth Carlin has appeared as soloist with orchestras such as the Saint Louis Symphony, San Francisco Philharmonia Baroque, Toronto Tafelmusik and Boston Pops, with conductors such as Leonard Slatkin, Nicholas McGegan and Roger Norrington, and in recital with performers such as Pinchas Zukerman, James Buswell, Anner Bylsma and Malcolm Bilson. He has played at the Festival of Two Worlds in Spoleto, Italy, the Marlboro Music Festival, the Newport Music Festival in Rhode Island, the Sante Fe Chamber Music Festival, the Great Performers at Lincoln Center Mozart Marathon, Cambridge Society for Early Music in Massachusetts, and “On Original Instruments” at Merkin Hall in New York. In addition he has made appearances on French, Swedish, German and mainland Chinese national television and radio, and recorded for Titanic and Naiad records.

Mr. Carlin performed the cycle of complete Schubert fortepiano sonatas, including the “Wanderer” Fantasy, in New York City during the 1991-92 season. The concerts were broadcast nationally on National Public Radio’s program “Performance Today.”

Carlin was a prizewinner in the International Busoni Competition, a recipient of a special scholarship from the French goverment, and one of only two fully funded National Endowment for the Arts recitalist grant winners in the United States in 1989. Recently his CD of Sonatas and Bagatelles by Beethoven was named Recording of the Month by Alte Musik Actuelle magazine.

“It’s not merely the sonic colorations that make Seth Carlin’s performance so attractive. His exploitation of the instrument is consistently purposeful, fully supportive of an interpretation that combines respect for Classical structuring and a maximum of expressive force. Articulations of contrasting sections are reinforced by deft use of the muting effects, bass patterns have a crispness that emphasizes their thematic content as much as their harmonic function, and carefully controlled volume levels on the low end of the dynimic scale make the occasional sweeping buildups of sound seem all the more dramatic. Carlin’s would be a commendable treatment of Schubert regardless of the medium; on this particular instrument (a replica of an early nineteenth century Viennese fortepiano by Robert Smith) the effect is positively awesome.”

Carlin plays with great exhuberance and freedom, nothing seeming too difficult for him. And he communicates great pleasure in the music and the experience of playing it with others.”