MKI Artists is a full-service artist representation agency managing classical musicians. Helmed by John Zion – who took ownership of the firm in 2015 – our experienced team directs the careers of a select group of artists.
MKI Artists seeks to support classical music by energetically and empathetically representing a select roster of the world’s best musicians. We cultivate long-term personal relationships with our artists and performing arts organizations throughout the world to help achieve artistic, professional, and personal success. We want to ensure that MKI Artists thrives as a business so that classical music remains a vital art form, so its practitioners receive the support they need, and so this music will be enjoyed by an always growing audience. Learn more
Never one to miss a great party, the Dover Quartet took a three-day break from annual duties at the Artosphere Festival – one of their longest-standing supporters – and jetted to London last weekend, where they took part in the Wigmore Hall’s 70th-birthday celebration of their dear friend and collaborator Emanuel Ax. It’s not just any string quartet that a legend like Ax invites to play with him: he first heard the Dover at Tanglewood and was so taken by what he heard that he invited them to perform with him first at Northwestern, now at Wigmore, and in the fall at Carnegie’s Zankel Hall.
The exceptional pianist Orion Weiss was the featured soloist on Mozart’s Piano Concerto No. 21 with the Detroit Symphony in late June, with Ankush Kumar Bahl conducting the all-Mozart program. Earlier in the month Orion performed Gershwin’s Piano Concerto in F major, which was greeted with raves: “Thursday’s explosive midday performance of it by pianist Orion Weiss was Gershwin par excellence — jaunty and jazz-flavored yet with arresting moments of melancholy and earnest cries of individuality amid a work full of big-city bustle. It was unquestionably the climax of a concert with four distinctly different views of what ‘modernism’ means.”
The summer of 2019 is shaping up to be a typically whirlwind summer for the Pacifica Quartet, starting first with a visit to the Sarasota Music Festival and a collaboration with Jeffrey Kahane, then off to a four-week residency at Aspen, where it was their recital that started the whole celebration. Next they’ll take a quick visit to the Eastern Music Festival to play the Schoenberg Concerto for String Quartet and Orchestra with Gerard Schwarz, and then will travel to the Victoria Music Festival, the Interlochen Center for the Arts, the Montreal International String Quartet Academy, and Music in the Vineyards before taking a well-deserved break before their 2019-20 season begins.
After much anticipation from fans and audiophiles alike, the Hermitage Piano Trio released its first CD on Reference Records in May. The album is comprised of the piano trios of Sergei Rachmaninoff: Trio élégiaque No. 1 in G minor; Trio élégiaque No. 2 in D minor, Op. 9; and Vocalise. Descending from the great Russian musical tradition, the Hermitage is distinguished by its exuberant musicality, interpretative range, and sumptuous sound, and this gorgeous recording does justice both to the group’s sound and that of Rachmaninoff.
“I’m so happy to welcome the Shanghai Quartet to MKI Artists. As you know, it’s an absolute joy to hear them perform, and we look forward to helping them build on their rich history as an ensemble. We’re especially excited about what’s coming next: a fascinating full-length documentary film that tells the story of their origin in Cultural Revolution-era China, their journey to America, and the growth of the Quartet’s international career; a new work from the legendary Krzysztof Penderecki; and close collaborations with Tan Dun, Wu Man, and many of the other leading musical figures and organizations in China.” – John Zion | Managing Director
The astonishing young cellist Andrei Ioniță continues to amaze critics and audiences alike. The release of his first album on Orchid Classics, Oblique Strategies, is “…a vivid portrait of Ioniță’s virtuosity and imaginative command of colour.” (Gramophone); The Strad calls the recording “superb” and raves that Andre’s playing “demands attention: the sinewy depth and richness of the tones he’s drawing from his 1671 Rogeri, the fluid technique…his power and lyricism.”