The New Yorker

“Sonorous Brushes”

JUL. 28, 2018

 

Mairie De Paris

Soirée de Clôture – Concert de Jenny Q Chai & WYVE

JUL. 7, 2017

 

The New York Times

Review: The Pianist Jenny Q Chai, Evoking Chopin Without His Work

JAN. 11, 2016 | By ANTHONY TOMMASINI 

“Ms. Chai played all the excerpts vividly, especially her bouncy, lilting account of “Reconnaissance.”

 

The New York Times

Classical Music & Opera Listings for Jan. 8-14

JAN. 7, 2016

 

I Care If You Listen
5 Questions to Jenny Q Chai (pianist)

JAN. 7, 2016 | By ANDREW THAM

 

Buffalo News

Disc review: Jenny Q. Chai, Life Sketches: ‘Piano Music of Nils Vigeland’

SEP. 8, 2016

 

Sequenza 21

In Waves

JUN. 10, 2013 | By GEORGE GRELLA

“There are few musicians who can play both Scarlatti and Liszt naturally and convincingly — Formenti is one, there’s Mikhail Pletnev — and Chai does it. She plays Cage well too, and probably no one but the man himself can pull off “Water Walk.”

 

ConcertoNet

UnCage That Pianist!

MAY 7, 2013 | By Harry Rolnick

“The unexpected, the mysterious, unusual, and comic were all part of the show. But the artist herself has such easy expertise that each challenge (and each occasional failure) was joyfully arousing.”

 

The New York Times

A Piano, an iPad, a Mirror: Tools for a Modern Recital

NOV. 5, 2012 | By VIVIEN SCHWEITZER

“In recent years the piano recital format has become more flexible… The Chinese-born 29-year-old American pianist Jenny Q Chai, who has studied with Mr. Aimard, is following the more eclectic path, as demonstrated by her program on Sunday evening at Le Poisson Rouge… Ms. Chai opened her program with an atmospheric rendition of Satie’s ‘Three Gymnopedies,’ followed by a thoughtfully conceived interpretation of Schoenberg’s Three Piano Pieces (Op. 11), about which the composer wrote that he had ‘no formal, architectural or other artistic intentions.’ Ms. Chai played two Scarlatti sonatas with a deft, light touch…”

 

Ghost Outfit

Jenny Q Chai Playing Satie, Schoenberg, Stockhausen, and others at Le Poisson Rouge on Sunday night

NOV. 6, 2012

“Chai’s performance of Satie’s ‘Gymnopedies’ was different from any I’d heard before – particularly in its exceptionally slow tempo, which let Satie’s languid chordal alterations ring Exquisitely. Most pianists complement the piece’s lack of harmonic movement with a similarly restrained dynamic range. Chai, on the other hand, rendered the piece much more dynamically, with pianissimo segments alternating with assertive keypresses. It’s strange and exciting to hear such an unusual performance of such a familiar piece, for which Chai definitely deserves commendation.”

 

Lucid Culture

Jenny Q Chai Captures a Moment in New York History

NOV. 5, 2012

“In a mighty stroke of coincidence, or the kind of luck that an artist would never wish on an audience, Jenny Q Chai sure picked the right program for her Poisson Rouge debut last night. In the low lights of the downstairs space, less than 48 hours after it reopened in the wake of the hurricane, the pianist went into Lynchian mode and stayed there for pretty much the duration of her concert. Maybe the effect was enhanced by having just come from Zirzamin around the corner – a Twin Peaks room if there ever was one – but all of downtown has been in a surreal, uneasy mood since the storm. Chai captured it perfectly, a mix of ambitious contemporary solo works along with some unexpected relief that blended in seamlessy even as it contrasted with the rest of the program. This wasn’t about pyrotechnics: it was about the mist afterward.”

 

Feast Of Music

Pianist Jenny Q Chai at (le) Poisson Rouge

NOV. 5, 2012

“In a mighty stroke of coincidence, or the kind of luck that an artist would never wish on an audience, Jenny Q Chai sure picked the right program for her Poisson Rouge debut last night. In the low lights of the downstairs space, less than 48 hours after it reopened in the wake of the hurricane, the pianist went into Lynchian mode and stayed there for pretty much the duration of her concert. Maybe the effect was enhanced by having just come from Zirzamin around the corner – a Twin Peaks room if there ever was one – but all of downtown has been in a surreal, uneasy mood since the storm. Chai captured it perfectly, a mix of ambitious contemporary solo works along with some unexpected relief that blended in seamlessy even as it contrasted with the rest of the program. This wasn’t about pyrotechnics: it was about the mist afterward.”