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“An artist you want to hear no matter what he performs.”

The New York Times

“The most viscerally ­exciting, ­emotionally ­absorbing and ­intellectually rich ­account of Beethoven’s First Piano Concerto that I have ever heard in ­concert.”

Detroit Free Press

“One measure of how fully he is able to draw the listener into his own ­feeling of ­renewed discovery when playing the “Goldbergs” was how quietly and ­attentively the audience took in all 70 minutes of this opening recital of the Symphony ­Center Presents Piano Series, ­before breaking into sustained applause.”

Chicago Tribune

“American pianist Jeremy Denk has both – not to mention the fiendish technique and expressive iconoclasm you’d expect from one of today’s classical superstars.”

Guardian

“While touching on a vast range of moods, colors, and characteristics, Denk’s Bach across the length of the recital was unified by its richness of inner life. One had the feeling less of attending a performance than of listening in on a pianist playing, in the best sense, for himself.”

The Boston Globe

“With impish charm, he performed this ­grandest of Mozart concertos with light-hearted ­irreverence. Each note sounded fresh and alive, as if thought through anew…”

Washington Post

“An unerring sense of the music’s dramatic ­structure and a great actor’s intuition for ­timing, Denk was the provocateur who urged his ­colleagues to dare all, to unleash every calorie of emotional heat.”

Boston Globe

“As the antihero keyboard soloist, Denk’s poised luminous touch in the spare solo part was an ideal partner for the scrupulously detailed and laser-like orchestral playing led by Tilson Thomas.”

The Miami Herald

“What caught the ear most was the sensitive, spontaneous phrasing and the pearly quality of his tone when spinning out melodic lines.”

The ­Baltimore Sun

“In Bach’s English Suite No. 3, his jazzy ­tempos and crisp articulation brought fresh ­perspectives to the Prelude, Courante and ­Gavotte.”

South Florida Classical Review

“Denk is one of the finest pianists we’ve heard: clear, nuanced, sensitive to the orchestra he’s with — or the partner…Denk is that rare pianist who can produce volume without beating up his instrument.”

Naples Daily News

Jeremy Denk is one of America’s foremost pianists, hailed by the New York Times as “a pianist you want to hear no matter what he performs”, and celebrated for performances of vast imagination, beauty, profundity, and wit. A New York Times bestselling author, Jeremy is the recipient of both the MacArthur ‘Genius’ Fellowship and the Avery Fisher Prize, and is a member of the American Academy of Arts and Sciences.

In the 2025/26 season, Denk tours widely across North America with performances in New York, Philadelphia, Cleveland, Los Angeles, Seattle, Berkeley, and Austin, among others. In recital he continues to explore female composers from the past to the present, as well as the complete Bach Partitas. He also returns to the Orpheus Chamber Orchestra to perform Beethoven 1 at the 92nd Y in New York, and reunites with his long-time collaborator, Joshua Bell, for performances at the Hollywood Bowl and the Ravinia Festival. Further afield, he embarks on a tour of South Korea with violist, Richard O’Neill, and performs at the Adam Chamber Music Festival in New Zealand in multiple concerts, including a performance of Schubert’s Die Schöne Müllerin with tenor Colin Ainsworth.

In the 2024/25 season, Denk continued his musical collaboration with Joshua Bell and Steven Isserlis, with performances at the Tsindali Festival and Wigmore Hall, following on from his multi-concert residency at the Wigmore. He also returned to the Lammermuir Festival in multiple performances, and to Klavierfestival Ruhr. Recent highlights also include premiering a new concerto written for him by Anna Clyne, co-commissioned by the Dallas Symphony led by Fabio Luisi, the City of Birmingham Symphony led by Kazuki Yamada, and the New Jersey Symphony led by Markus Stenz. Further highlights include performances of John Adams’ Must the Devil Have All the Good Tunes? with the Cleveland Orchestra, St. Louis Symphony, and Seattle Symphony.

Denk has performed frequently at Carnegie Hall, and in recent years has worked with such orchestras as Chicago Symphony, Cleveland Orchestra, New York Philharmonic, and San Francisco Symphony, and appeared in such halls as the Köln Philharmonie, Concertgebouw in Amsterdam, and Boulez Saal in Berlin. Denk has also performed extensively across the UK, including with the Bournemouth Symphony, City of Birmingham Symphony, London Philharmonic, BBC Symphony, Royal Liverpool Philharmonic, Britten Sinfonia, Scottish Chamber Orchestra, Royal Scottish National Orchestra, and the Northern Sinfonia.

Denk is also celebrated for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” His New York Times Bestselling memoir, Every Good Boy Does Fine was published to universal acclaim by Random House in 2022, with features on CBS Sunday Morning, NPR’s Fresh Air, The New York Times, and The Guardian. He also wrote the libretto for a comic opera presented by Carnegie Hall, Cal Performances, and the Aspen Festival, and his writing has appeared in the New Yorker, New Republic, Guardian, Süddeutsche Zeitung and on the front page of the New York Times Book Review.

Jeremy is known for his interpretations of the music of American visionary Charles Ives, and in celebration of the 150th anniversary of the composer’s birth, Nonesuch Records released a collection of his Ives recordings in 2024. His album of Mozart piano concertos, released in 2021 on Nonesuch Records, was deemed “urgent and essential” by BBC Radio 3. His recording of the Goldberg Variations for Nonesuch Records reached No. 1 on the Billboard Classical Charts, and his recording of Beethoven’s Piano Sonata Op. 111 paired with Ligeti’s Études was named one of the best discs of the year by the New Yorker, NPR, and the Washington Post, while his account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano.

AUGUST 2025