Vivien Schweitzer, New York Times, A Piano, an iPad, a Mirror: Tools for a Modern Recital, November 5, 2012:
“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, November 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, November 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.”
Craig Brinker, Feast of Music, Pianist Jenny Q Chai at (le) Poisson Rouge, November 5, 2012:
“The hurricane affected everyone in New York/New Jersey area to some degree, and pianist Jenny Q Chai also felt the repercussions of the ‘superstorm.’ After coming back from intermission, Chai said that this was the first time she had slept on couches for two consecutive nights in order to give a recital. The 25 or so people in attendance at (le) poisson Rouge on Sunday evening were glad she was willing to do so: Her intensity and control throughout a program full of technically challenging repertoire was impressive…”
Lucid Culture, Jenny Q Chai’s Smart, Intuitive Zankel Hall Debut, April 20, 2012:
“Pianist Jenny Q Chai’s Carnegie Hall debut last night was expertly programmed and packed with joie de vivre: she played as if she had a secret and couldn’t wait to share it with everybody. Her approach to a mix of premieres, 20th and 21st century compositions and an old High Romantic concert favorite matched fearsome technique to a confidently matter-of-fact emotional intelligence….she awed the crowd with what seemed to be an effortless articulacy. Yet despite the pyrotechnics, it was Chai’s sensitivity to color, timbre and emotion that resonated the most…The crowd roared for an encore and got two…”
Anthony Tommasini, The New York Times, Young Pianist at Home in the Past and Present, April 20, 2012:
“Some young performers specialize in contemporary music because they think it is important to do so or to acquire a hip professional profile. The best reason to play new music is because it fascinates you. The Chinese-born, 28-year-old American pianist Jenny Q Chai demonstrated true affinity for contemporary music throughout the challenging program she played on Thursday night at Zankel Hall…playing with resourceful technique and sensitivity…her playing was admirable for its refinement and directness…”
Angela Sutton, Feast of Music, Pianist Jenny Q Chai at Zankel, April 21, 2012:
“Few composers after World War I have shown much interest in the singing piano lines or melodic hooks favored in the nineteenth century. Consequently, their works are difficult to read, difficult to conceptualize, and difficult to present. In particular, they often require a lot of physical power and stamina, which pianist Jenny Q Chai impressively served up Thursday night at Zankel Hall…Ms. Chai played with conviction, providing the necessary insight for these difficult works…Encores included works by Nils Vigeland and John Cage, the latter sung and tapped on the piano case instead of played. It served as a fitting close to an adventurous, ear-tickling program.”
Chris McGovern, Sequenza 21, Jenny Q Chai at Zankel Hall, April 21, 2012
“Jenny Q. Chai is certainly among the many great artists that display a great love for works from various periods of music and an ability to create a wise programming that shows a tremendous recognition for where composers share a likeness in their styles that are not always picked up by the naked ear. This concert was proof of that ability, and also a great showcase for her virtuosity.”
“Hot contemporary pianist Jenny Q Chai spins Roulette…”
‐ Time Out New York
“Jenny Q Chai opened the concert playing two of Ligeti’s Études with rich tone and rhythmic clarity; especially strong was her “Cordes à vide.” That piece was played by Ms. Moore at the First Keys to the Future festival. It’s always good to hear it again.”
‐ The New York Times
“A serious pianist with a passion for new music.”
‐ Pianist Pierre‐Laurent Aimard
“Jenny Q Chai is an extraordinary pianist with limitless imagination”
‐ Valladolid Daily News
“The astute quality that infuses her versatile musical personality reveals itself time and time again”
‐ Anthony de Mare