Internationally known American pianist Victor Rosenbaum has concertized widely as soloist and chamber music performer in the United States, Europe, Israel, Brazil, Russia, and Asia in such prestigious halls as Tully Hall in New York and the Hermitage in St. Petersburg, Russia. He has collaborated with such artists as Leonard Rose, Paul Katz, Arnold Steinhardt, Robert Mann, Joseph Silverstein, James Buswell, Malcolm Lowe, and the Brentano, Borromeo, and Cleveland String Quartets.  A musician of diverse talents, Rosenbaum is also a composer and has frequently conducted in the Boston area and beyond.

Rosenbaum, who studied with Elizabeth Brock and Martin Marks while growing up in Indianapolis, and went on to study with Rosina Lhevinne at the Aspen Festival and Arthur Schnabel disciple, Leonard Shure, (while earning degrees at Brandeis University and Princeton), has become a renowned teacher himself. Recently retired from the faculty of New England Conservatory in Boston where he taught for more than fifty years, he chaired its piano department for over a decade, and was also Chair of Chamber Music. A faculty member of Mannes School of Music in New York from 2004-2017, he has been Visiting Professor of Piano at the Eastman School of Music, a guest teacher at Juilliard, and presents lectures, workshops, and master classes for teachers’ groups and schools both in the U. S. and abroad. In recent years, he has been teaching and performing in Japan, Korea, Israel, Taiwan, Austria, and Bulgaria, and has been a guest artist at many summer festivals, including Tanglewood, Kneisel Hall, Yellow Barn, the International Keyboard Institute and Festival, Atlantic Music Festival, and Lancaster International Piano Festival. He was recently appointed Visiting Professor of Piano and Chamber Music at National Taiwan Normal University. Rosenbaum was also Director and President of the Longy School of Music in Cambridge, MA from 1985-2001. His highly praised CDs are on the Bridge and Fleur de Son labels. Of his Tully Hall concert, the New York Times said “he could not have been better” and the Boston Globe described his playing as “fervor and gentleness combined,” saying that he “makes up for all the drudgery the habitual concert-goer endures in hopes of finding the real, right thing”.