Praised by the New York Times as “a pianist you want to hear no matter what he performs,” Jeremy Denk returns to the San Francisco Symphony in a program wedding Viennese Classicism with modern classical American music. Following his performance of Cowell’s Piano Concerto in the recent American Mavericks festival, Denk shows audiences another dimension of his artistry, lending his incisive ear to Mozart. Complementing this and Beethoven’s Leonore Overture No. 3, MTT conducts Copland’s Symphonic Ode and Steven Mackey’s uproarious Eating Greens, one of the composer’s most fantastical and delightful creations.
San Francisco Symphony
All sound clips are from San Francisco Symphony performances and are used with permission of the SFS Players Committee.
Concert: Approx. 1h 50m, includes intermission.
Copland's Symphonic Ode
Jeremy Denk Named 2013 MacArthur Fellow
"Denk’s writings not only offer poignant and humorous meditations on such subjects as the complex relationship between protégé and mentor, they also demonstrate the connection between the process of writing and the practicing musician’s ceaseless efforts to find the most vivid and meaningful way to bring a particular phrase to life. An extraordinary pianist and essayist of keen musical intellect, Denk is engaging listeners and readers in a deeper appreciation of classical music." Read more about Denk's recent award at macfound.org.
Listen to a podcast from The New Yorker in which Denk discusses challenges of playing music that everybody knows, what he loves about the Goldberg Variations, and how writing fits into his musical career.
Read Denk's acclaimed blog, Think Denk, at jeremydenk.net/blog.
Watch the MacArthur Foundation's video profile of Denk:
Read an Article
Jeremy Denk discusses his upcoming performance of Mozart's Piano Concerto No. 25 with the Huffington Post: “Mozart is incredibly beautiful, but this piece has many shimmering passages of beauty - unearthly and uncanny. I've always had very strong feelings about this concerto. In a certain sense, it is a musician's piece. It has a lot of qualities of his other concertos, but it has others that are strange and wonderful….This piece is an obsession of mine and it is an obsessive piece. I am thrilled that Michael Tilson Thomas agreed to do it and I can't wait to do it.” Read the full article on huffingtonpost.com.
Watch a Video
Jeremy Denk discusses his approach to selecting concert repertoire in an interview with Carnegie Hall:
As an accompaniment to his New Yorker essay, 'Every Good Does Fine,' Jeremy Denk discusses his piano teachers and shares a glimpse inside his lesson notebook. Watch the video on on newyorker.com.