David Phillips' interpretations of composers as varied as Mozart, Beethoven and Schubert have garnered him wide acclaim and invitations to appear with notable institutions such as The Armenian Philharmonic,The San Antonio Symphony and The Dubrovnik Symphony. He has performed under such conductors as Ruben Asatrian, Michael Morgan, Vincent Zitto, Zlatan Srzic. Mr. Phillips has also performed in venerable concert halls such as Khachiturian Hall, Armenia; and Rector's Palace, Croatia. In the U.S., he has performed at Carnegie Hall; The Warton Center for The Performing Arts, Lansing, Michigan; Watson Fine Arts Center Theater, San Antonio Texas; The Yachats Music Festival, Oregon, and many others.
Phillips' mastery of the piano has also been noted by the U.S. Department of State. Its Bureau of Educational and Cultural Affairs invited him to appear on international tours to Armenia, and Croatia. In addition to performing solo recitals on these tours, Phillips appeared as a soloist with both the Armenian Philharmonic and the Dubrovnik Symphony. He also led master classes at the Sayat Nova Music Academy and the Zagreb Conservatory in Croatia.
Recently, Phillips performed on the Rite of Spring Great Performers Concert series in New York City. He has also given solo recitals at the Old First Concert Series in San Francisco, Florida's Key West Pops Orchestra, the Donnell Library Concert Series as well as Trinity Concert Series, both in New York City.
Mr. Phillips has led master classes at notable schools as The Sayat Nova Music Academy in Armenia, among others.
“This message constitutes an unconditional recommendation for pianist, David Phillips of New York. I have known Mr. Phillips since his teenage years and have greatly enjoyed watching his development into the fine musician he is today. His strengths include not only formidable technique at the keyboard, but also impressive expression of the music he plays. His understanding of music theory and history is likewise quite commendable. I would expect Mr. Phillips to be successful at any music enterprise he undertakes. Please feel free to contact me with any questions.”
“THE SECOND HALF OF THE PERFORMANCE, HOWEVER, STOLE THE SHOW. PIANIST DAVID PHILLIPS OWNED THE STAGE AND THE STEINWAY AS HE REVEALED AN INTENSE RELATIONSHIP WITH GERSHWIN’S “CONCERTO IN F.” MY ROW E NEIGHBOR, KIRSTEN KOCI, DESCRIBED IT BEST: “HE DOMINATED THE PIANO!” THE MUSIC AND THE PLAYER’S PERSONA BROUGHT BACK THE INSPIRATIONS FOR THE CLASSIC ‘30’S CARTOON- THE EARLY BLACK AND WHITES THAT MIGHT PRESENT A PIANO TAP DANCING WITH ITS PIANIST. YOU WOULD NOT HAVE BEEN SURPRISED LAST SUNDAY IF SOMEHOW THAT OCCURRED. THE THREE MOVEMENTS OF THE COMPOSITION ITSELF ARE SNAPPY, THEN SULTRY THEN BUILD, BECOMING GRACEFUL THEN BUILDING TO WHAT MUSIC SCHOLAR STEVEN SCHWARTZ REFERS TO AS “PYROTECHNICAL BURSTS.” GERSHWIN PIANO PIECES ARE OFTEN VERY ATHLETIC; LOOK AT “RHAPSODY IN BLUE.” PIANISTS END OF SWEATING LIKE SPRINTERS AND PHILLIPS SEEMED TO REVEL IN THE ATHLETICISM.”
“WE HAVE, HOWEVER, HEARD SOMETHING RATHER LIKE THE PIANO CONCERTO IN F BEFORE, NAMELY JUST UNSCROLLED EVERY ANYTHING GERSHWIN PUT TOGETHER FOR AN ORCHESTRA. BUT SOLOIST DAVID PHILLIPS IS NOT LIKE ANY PIANIST ON THIS PLANET. FROM AN IMPECCABLE MEMORY EVERY INSCRUTABLE NOTE THROUGH HIS CURLING FINGERS. PHILLIPS IS SUPER-SENSITIVE PERFORMER BLESSED WITH AN ENDEARING TENDENCY. (THE LATE GLENN GOULD’S WAS TO HUM THROUGH HIS PERFORMANCES; OTHERS CALLED IT GROANING.) PHILLIPS’ IS TO CONTORT HIS MUG AS IF DEFLECTING THE TANTALIZING TENSION BETWEEN EACH NOTE. NEVER SEEN ANYTHING QUITE LIKE IT. A NIGHT OF GERSHWIN WAS A NIGHT OF ICE ON FIRE AND WE LOVED IT.”