Chris Norman & David Greenberg

Concert April 12, 2018

Chris Norman & David Greenberg in Concert
Thursday April 12, 2018. 7 PM
Kentlands Mansion, (Gaithersburg, Maryland)


Two of the most imaginative and dynamic performers in traditional and early music join forces to present a program that runs the gamut from renaissance, baroque, traditional and original music incorporating flutes, violins, vielles, pipes, keyboards, and voice.

These two extraordinary performers have played together as sparring partners for more than 18 years on the concert stage and recording studio. Chris Norman is described as “A flute superstar…the musicianship just came wailing out” (Toronto Globe & Mail) and David Greenberg has been praised as both "one of the most impassioned folk-fiddlers you'll ever hear" (Winnipeg Free Press) and "the best baroque violin soloist in Canada, if not North America" (Halifax Mail-Star).

Come join this superstar duo for an unforgettable evening of passionate music making in an intimate setting.  Their widely expressive and conversational style of playing, combined with virtuosic skill and engaging charisma, is nothing short of magical.



Chris Norman’s flute playing can be heard featured in the Oscar winning soundtrack of Titanic as well as other films including Stone of Destiny and Soldier. His solo CD releases have received unanimous praise from critics and audiences alike. His debut Man With the Wooden Flute made the Billboard crossover charts for 12 weeks. Since that time Norman has collaborated, toured and recorded with some of today's most seminal artists in the genres of early music and traditional folk music.

Chris regularly teaches master classes and has conducted symposia at many schools of music around the world. He has inspired thousands of musicians both young and old as the founder and director of the Boxwood Festivals and Workshops. Under Norman's guidance Boxwood has grown into a prominent educational and artistic endeavor running for 19 years, and recognized world-wide.


David Greenberg taught himself folk fiddle tunes by ear as a young child growing up in Maryland. He learned conventional classical violin through his teens, and in the mid 80s he studied baroque violin with Stanley Ritchie at Indiana University's Early Music Institute. DG spent the 1990s performing and recording with Tafelmusik while developing a specialty in Scottish baroque-folk music, recording three groundbreaking CDs in this genre with his group Puirt A Baroque. Immersing himself in Cape Breton traditional music, he also co-authored at this time the DunGreen Collection, a treatise on Cape Breton fiddle music, with his wife Kate Dunlay. He lives with his family in Halifax, Nova Scotia, dividing his time among various regular collaborators and an irregular one now and then just for fun. He directs the Tempest baroque ensemble in Halifax.

RECENT REVIEWS of the Chris Norman/David Greenberg Duo:

"These two well-traveled musicians are convincing, entertaining ambassadors for the wide-ranging facets of early music, music of the Canadian Maritimes, and traditional Scottish music they played. . . [Their] Telemann was sheerest pleasure, with its effortless tunefulness and sparely, brilliantly sketched harmonic framework. . . David Greenberg’s agile partnering of Chris Norman and his various sizes of flute left listeners with the impression of two lithely vocal lines with sweetly complimentary harmonics and interlocking, subtle fundamentals. This was magical, in fact. . . I enjoyed every minute of it, and was particularly impressed by the seamless transitions among the various styles included in the concert. The evening was brilliantly programmed and executed by the duo." - - Boston Musical Intelligencer

Chris and David are the consummate entertainment package with virtuosic skill and engaging charisma. . . Their love for their music is enticing and one is easily caught up and hooked into their passion. . . . A memorable concert. - - Bay Chronicle, New Zealand

This remarkable recording, Let Me In This Ae Night, signals a new breakthrough in drawing various genres of music onto one canvas. Scottish and baroque music are the main root elements. Much more than a ‘cross-over’ recording, this project embodies the ideals of rhetoric and rhythm that are rarely heard in today’s scene, regardless of the genre. The complete absence of other accompaniment heightens the intensity of the musical conversation taking place, and these two artists are taking chances and playing with an abandon that is quite stunning. . . it is a recording that every flute or fiddle player should own, enjoy and learn from.
- - Flute: Journal of the British Flute Society