Jeffrey Cohan
Flutist Jeffrey Cohan, deemed The Flute Master (headline) by the Boston Globe, can play many superstar flutists one might name under the table according to the New York Times. Perhaps the only flutist to regularly perform internationally the virtuoso repertoire for modern flute alongside equally demanding repertoire for renaissance, baroque and early multi-keyed flutes, he champions unusual as well as familiar repertoire from six centuries on period instruments. A leading proponent of new music, he has been instrumental in bringing about numerous commissions and premieres by European and American composers. His unique versatility, virtuosity and musicality have been heralded by critics worldwide.

“From the first tone Jeffrey Cohan transported his listeners like a magician in the great, wonderful music world... He simply enraptured his audience with his great technique and wholly musical perceptions.”
Berner Zeitung, Bern, Switzerland

“He seemed almost like a Pan from Greek myth who had come from the cold north for a ‘soirée d’un faun’... The listener experienced the usual and the unusual in great perfection.”
Berner Tagblatt, Bern, Switzerland

“Under his hands blooms and breathes all; each work becomes so precious that one feels almost like an intruder in this musical universe.”
Holsteinischer Courier, Kiel, Germany

“An expressive spontaneity and communicative intensity that kept a listener consistently absorbed. All the easy agility, lyrical grace and dramatic perceptions of a superb bel canto soprano.”
—The New York Times

“Through stunning mastery of his instrument, careful programming and a remarkable communicative stage presence, Jeffrey Cohan transformed a potentially pallid recital into a musical event of tremendous variety, warmth and subtlety. With his amazing command of an unusually large dynamic range, a wonderfully burnished tone, attention to the most subtle rhythmic nuances and a terrific sense of humor Cohan was able to make these pieces extraordinarily engaging. I can’t recall ever hearing such a wide range of expressiveness or such variety of tone color from the baroque flute.”
—The Boston Globe

“Virtuoso flutist... astonishing time and time again.”
Der Bund, Bern

“Dynamic magic is immediately apparent in Cohan’s artistry with the flute ... as the music is played with stunning verve.”
—Seattle Post-Intelligencer

“What Jeffrey Cohan elicits from his baroque traverso... borders on the miraculous.”
—Darmstadter Echo
, Darmstadt, Germany

“The flute appears formally to be part of him, as though an extension of an organism that resonates within, bringing the sound to the air through an unheard-of sensivity and mastery of breath.”
—Darmstadter Echo
, Darmstadt, Germany (Thomas Ehrle)

“Fire, Fantasy and Perfection”
“Magical appeal, musical sensitivity and glowing fantasy... uncommon stylistic originality, highly artistic maturity and technical perfection... an astonishing gift of sympathetic understanding... seemingly effortless brilliance... a genuine fireworks display of virtuoso effects.”
—Westfälischer Anzeiger
, Hamm, Germany (Ellen Ruhnau)

“His virtuosity seeming to know no bounds, he succeeded with his virtually infallible, secure technique in enchanting the listeners.”
Der Bund, Bern, Switzerland

“The significant portion of the concert was the Ibert Concerto. Soloist Jeffrey Cohan presented a feather-light, sensitive interpretation with breath-taking clarity and the sparkling tone of his flute.” [with the Presidential Symphony Orchestra]
Milliyet Sanat Dergisi, Ankara, Turkey

“Cohan’s engaging music-making... captivated the listener to the last instant.”
Salzgitter Zeitung, Salzgitter, Germany

“Virtuoso flutist... astonishing time and time again.”
Der Bund, Bern, Switzerland

“Boundless Ingenuity”
Main-Spitz Rüsselsheim, Germany (Christoph Ludewig)

“Jeff Cohan interpreted Bach’s music entirely in accordance with its inherent character, flexibly and yet without affect-seeking intentions. Exaggeration of feeling was absent. Whenever a sound, a melodic bridge, touched the hearts, it was the result of skillfully accentuated phrasing and of a dynamic development of line.
Burgdorfer Tagblatt, Burgdorf, Switzerland

“Exquisite are Cohan’s breathing, his sense of line, and his technique.”
Berner Zeitung, Bern, Switzerland

“One would at all events like to be able to hear this musician again soon”
Darmstadter Tagblatt Darmstadt, Germany (Wolf Eberhard von Lewinski)

Jeffrey Cohan has performed as soloist in 25 countries, including 10 European countries, Australia, New Zealand and the United States, and worldwide for the USIA Arts America Program in South Pacific, South America, Turkey, Portugal and Spain.  He received the highest rating from the Music Panel of the National Endowment for the Arts, and has recorded for NPR in the United States, and for national radio and television in Germany, Switzerland, Slovenia, France, Belgium, Holland, Fiji and the Solomon Islands.

He is actively involved in promoting the works of contemporary composers, and in discovering and performing unknown works for both familiar and unusual instrumental combinations, many of them unpublished, by composers from the past six centuries.

He is artistic director of the Capitol Hill Chamber Music Festival in Washington, D.C., the Black Hawk Chamber Music Festival in Illinois and Iowa, and the Cascade Early Music Festival in Washington State. In the Northwest he directs Concert Spirituel and the Salish Sea Early Music Festival.

He is the only person to win both the Erwin Bodky Award in Boston and with lutenist Stephen Stubbs, the highest prize awarded in the Flanders Festival International Concours Musica Antiqua in Bruges, Belgium, two of the most prestigious awards in the United States and Europe for performers of early music.  His numerous prizes and awards include the First Prize in the Olga Koussevitzky Young Artist Awards Competition, and a grant from the Martha Baird Rockefeller Fund for Music which sponsored his debut recital in Lincoln Center’s Alice Tully Hall.

He has been a faculty member at Indiana University in Bloomington, the University of Northern Iowa, Augustana College in Illinois and Grinnell College in Iowa, and has given master classes in Australia, New Zealand, South America, Europe and the United States.

“What Jeffrey Cohan elicits from his baroque flute... borders on the miraculous.”
Darmstadter Echo, Darmstadt, Germany

“A brilliant and poetic account of Jacques Ibert’s Flute Concerto.”
Turkish Daily News, Ankara, Turkey

“A virtuoso at conveying myriad colors... flutist Jeffrey Cohan captivated young and old.”
The Washington Post (Cecelia Porter)

Sample programs with the finest performers on period and modern instruments include Flutes from Six Centuries (solo flute), The Broken Consort: 1500 to 1650 (renaissance flute, violin and harpsichord or lute), A Renaissance Christmas (renaissance flute, lute and soprano), Louis XIV: Les Musiciens du Roi (viola da gamba and pardessus de viole, and theorbo, baroque guitar or harpsichord), The Complete J.S. Bach (the solo Partita and Sonatas with harpsichord), Bach and Sons, Bach’s  Musical Offering (with Ingrid Matthewa and Hans-Jürgen Schnoor), Mozart Flute Quartets, Irish Baroque, Romantic Flute and the Russian Guitar (with Oleg Timofeyev), Slovenian Landscapes (for flute and harp, including many works written for Jeffrey Cohan), and The American Connection (French and American works by Joel Durand and others for flute, viola and harp).