A fearless interpreter of large-scale piano works both modern and historical, pianist Jason Hardink is much sought-after both as a soloist and chamber musician.
His recent debut at Weill Recital Hall was lauded for its audacious programming and pianism demonstrating both “abandon and remarkable clarity” (Anthony Tommasini, New York Times). David Wright of New York Classical Review called the recital an “analogous musical event” to Alex Honnold’s free solo ascent of El Capitan, and Frank Daykin of New York Concert Review wrote “I want to emphasize how very impressive this recital was, and how un-routine the programming was.”
Concert includes selected Transcendental Etudes by Franz Liszt and Thomas Osborne’s And the Waves Sing Because They Are Moving.
A performance of Lera Auerbach’s Cello Sonata, op. 69 with cellist Jennifer Humphreys.
A solo piano recital featuring world premieres by Jeffrey Holmes and Carl Schimmel, along with a regional premiere by Zosha di Castri and Beethoven’s ‘Hammerklavier’ Sonata.
A performance of Michael Hersch’s solo piano cycle The Vanishing Pavilions.
A concert featuring the 12 Transcendental Etudes of Franz Liszt, performed on an 1853 Bösendorfer piano.
A violin and piano recital at Utah State University featuring works by Mozart, Schubert, Brahms, and Stravinsky.
A program of 19-century music for clarinet and piano, performed in anticipation of an upcoming CD release of these works.
Most pianists begin a recital with a piece that allows them to warm up a little, and gives the audience a chance to settle in. Not Jason Hardink. He began his concert on Tuesday at Weill Recital Hall with Jason Eckardt’s “Echoes’ White Veil,” a dizzying, manic 12-minute work of almost stupefying difficulty. Read more
Jason Hardink demonstrated why he deserves to be known as a “key” pianist on Tuesday evening to a nearly-full house at Weill Recital Hall. He made the strongest impression in the thorny 20th century works that he has made his calling card: Eckardt, Xenakis, Messiaen. His strengths are: a prodigious memory and uncanny independence of hands and fingers that allows him to create extremes of contrasting sonority, both soft and loud, often simultaneously; he is very musical, and I believed every note he played. Read more
In a week when the Academy Award for Best Documentary went to a film about a man climbing a 3,000-foot cliff without a rope, an analogous musical event took place at Carnegie’s Weill Recital Hall Tuesday night. Read more