Janice Weber’s New York recital debut, performed under the pseudonym Lily von Ballmoos, was an early indication of the eclecticism and fluency for which she has become known.
A summa cum laude graduate of the Eastman School of Music, Miss Weber has performed at the White House, Carnegie Hall, Wigmore Hall, National Gallery of Art, and Boston’s Symphony Hall. She has appeared with the Boston Pops, Chautauqua Symphony, New Jersey Symphony, Hilton Head Orchestra, Sarajevo Philharmonic, and Syracuse Symphony in concertos of Hanson, Sowerby, Stenhammar, Bernstein, and Leroy Anderson as well as the standard repertoire. She has performed at the Bard, Newport, La Gesse, Husum, and Monadnock summer festivals and has returned frequently to China for concerts and master classes under the auspices of the American Liszt Society.
Her interest in the uncommon avenues of the piano literature led to a world premiere recording of Liszt’s 1838 Transcendental Etudes. Time Magazine noted, “Liszt later simplified these pieces into the still ferociously difficult Transcendental Etudes (1852 version) for fear that no one else could play them. There may now be several fire-eating piano virtuosos who can execute the original notes, but few can liberate the prophetic music they contain as masterfully as Janice Weber does here.”
Her recordings include Rachmaninoff’s complete transcriptions; with the Lydian Quartet, Leo Ornstein’s vast Piano Quintet; flute and piano works of Sigfrid Karg-Elert; and waltz transcriptions of Godowsky, Rosenthal, and Friedman. Miss Weber recorded Liszt’s last Hungarian Rhapsody, one of only two living pianists to be included in a compendium of historic performances by nineteen legendary artists. This disc subsequently won the International Liszt Prize. Her Naxos recording of Leo Ornstein’s radical works introduced the charismatic composer to a worldwide audience. She is heard in Messiaen’s Quartet for the End of Time on Ongaku Records. Her Cascade of Roses recording for Sono Luminus, featuring works of twenty-one composers from Adolf Jensen to Billy Mayerl, was followed by Seascapes, a compendium of fourteen diverse works on sea themes.
She was a member of the piano faculty at Boston Conservatory for twenty-seven years and has taught at MIT and New England Conservatory. Miss Weber produced three sets of tones for Ivory, the worldwide bestselling virtual piano software.
A Steinway artist, she is Artistic Director of South Coast Chamber Music, an integral part of the New Bedford Symphony Orchestra. Double Digits, her duo-piano collaboration with Alex Poliykov, is a staple of the Boston keyboard scene.