Dorothy Jonas, Composer Morton Gould and Joshua Pierce.
TWO-PIANO BIO | TWO-PIANO REVIEWS | TWO-PIANO DISCOGRAPHY | VIDEO | ARCHIVE | HOME
PRESS KIT |MSR CLASSICS | AFMM
TWO-PIANO REVIEWS
"Microtones – they're not for everybody. Actually, given the abstract, mathematical quality of the idea of exploiting the spaces in between the notes of the diatonic scale, it's surprising to find that the predominant mood in this program of mostly duo works is a kind of Romantic lyricism. Indeed, many of the works are programmatic. Alan Hovhaness' O Lord. Bless Thy Mountains, Op. 276, was inspired by the multiple mountain ranges rising from Seattle, WA, and uses pianos tuned a quarter-tone apart simply to depict the giddy sensation of exponentially displaced horizon lines. Robert Bonotto's entertaining trio-plus-bells quartet Sibelius and the Cuckoo of JarvenpŠŠ puts the birdcall in the odd tuning, and Czech composer Stepan Konicek has the related idea of using microtones to intensify blues – a language that already makes use of microtonal slides. (The music doesn't really sound like blues, however; Konicek deploys the microtones throughout instead of limiting them to the specific places where they may occur in the blues genre). Even where the uses of microtones are more abstract, as in the pioneering Three Quarter-Tone Pieces from the end of Charles Ives' life, the structures of the music are clear and often arresting. This is due in part, of course, to the confident performances of pianist Joshua Pierce, augmented as needed by duo-piano partner Dorothy Jonas or by other instrumentalists. The program benefits from a slight excursion outside the pure realm of microtones to John Cage's Daughters of the Lonesome Isle, a prepared-piano piece strongly influenced by Indonesian gamelan music. Strongly recommended, and lots of fun, for anyone with the slightest interest in thinking between the notes – or outside the box."
- by James Manheim, allmusic
POULENC: Concerto in D minor for Two Pianos (1932); NIKOLAI BEREZOWSKY: Fantasie for Two Pianos (1931); PAUL CRESTON: Concerto for Two Pianos (1951) - Joshua Pierce & Dorothy Jonas/Nat. Sym. of Polish Radio-TV/ David Amos - Kleos Classics KL 5121"A fortunate combination here: a standard for two pianos coupled with two other works receiving their world premiere recordings. The extensive liner notes point out that though two-keyboard concertos were popular in the Baroque period they sort of died out in the Romantic period to be replaced by virtuoso single-piano concertos which used all the resources of both the piano and the orchestra to make a grand impression. in the 20th century two-piano began to come back, and this disc brings us three fine examples.
Poulenc's witty work is full of many different influences: Mozart, the concerto grosso, jazz, silent film music, French music hall music, and even Balinese gamelan. Berezowsky is perhaps best known as Aaron Copland's teacher. He had come from the early Soviet Union - first to Vienna and then to New York to teach at Juilliard. His short Fantasie has a strong Russian flavor and partakes of the concerto grosso style. Paul Creston, who lived until 1985, was essentially self-taught and usually wrote in a Neoclassical style - sometimes fairly dissonant but always with a distinctive rhythmic structure. His Two-Piano Concerto is both tuneful and rhythmic, with a lengthy Andante center movement of some lyricism. The short finale is a traditional Tarantella, coming from the Italian background of the composer.
The playing of all concerned is excellent and the skilled sound and balance brings these delightful two-piano works to the listener in great style."
TWO-PIANO REVIEWS
"The critically acclaimed duo-piano team of Joshua Pierce and Dorothy Jonas, together with the Polish Television and Radio Orchestra, perform Francis Poulenc's beautiful Concerto in D minor as well as two world premier recordings: a Fantasie by the Russian composer, Nikolai Berezowsky, and a Concerto for Two Pianos by Paul Creston. Joshua Pierce and Dorothy Jonas have been playing as a piano duo since 1978 and many of their recordings and performances have featured world premieres, including works composed for them by Miklos Rozsa. Their performance on this album of Poulenc's delightful concerto is passionate, witty and exhilarating. Berezowsky's energetic Fantasie and the excellent Creston Concerto are also played with great brilliance and virtuosity, making this an invaluable addition to this prolific duo's recorded repertoire. 'Crisp, clean performances...consistant high spirits. It was delightful to encounter it in a performance of this stature'"
- The Chicago Sun-Times"... I also love (Roy) Harris's Violin Concerto, but I knew nothing about his highly original Concerto for Two Pianos and Orchestra and have never heard of the Kleos Classics label that has just released it, along with two works in the same genre by Arthur Benjamin and Pierre Max Dubois. The latter two works are fun and entertaining, but the Harris work is a major piece filled with his signature sense of longing, openness, and a kind of prairie majesty. This rambunctious, exhilarating work was not performed until more than a half-century after its 1946 composition. Harris fans will be grateful to pianists Joshua Pierce and Dorothy Jonas and the Slovak Radio Symphony Orchestra, under Kirk Trevor, for opening this particular window on one of our great composers. "
- Robert R. Reilly, Crisis Magazine, February 3, 2005"In speaking of the Pierce and Jonas Roy Harris Two Piano Concerto on Kleos KL5129, it is an excellent performance and recording, by the way."
- David Hall, (For the past 50 years, a world reknown commentator and writer on classical music, performing artists, musicians and the recording industry at large)"The team of Joshua Pierce and Dorothy Jonas has done outstanding work over the past three decades in expanding the repetoire for two pianos and orchestra. Back in the late 70's, they issued the first recording of Benjamin Britten's Scottish Ballad together with a smashing performance of Bohuslav Martinu's Two-Piano Concerto, and since then they have offered first recordings of major works by Creston, Starer, Lopatnikoff and Berezowski. This disk is notable for it's premiere recording of Concerto for Two Pianos(1946) by Roy Harris, and an "utterly irresistible" Concerto italien by Pierre Max DuBois and on to Arthur Benjamin's enchanting "pops-concert crowd-pleaser", North American Square Dances."
The Slovak Radio Symphony, which has now recorded such varied fare from all over the world, gives Pierce and Jonas top-notch idiomatic support under the talented Kirk Trevor. A genuine winner... and a treat for all ears."
- Paul A. Snook, Fanfare Magazine, Sept/Oct 2004"The indefatigable keyboard team of Pierce and Jonas continues its investigation of unusual repertory for piano and orchestra with three rarities: Pierre Max Dubois's Concerto Italien (1962), Roy Harris's Concerto (1946) and Arthur Benjamin's North American Square Dance Suite (1950). All three works are technically challenging, although one hardly could tell from the brilliant performances. Musically the 23-minute Harris is the most impressive, with his usual cragginess offset by moments of extreme tenderness. The Dubois, hardly trivial and always enjoyable, is more convincing in its first two movements rather in the pat finale. Benjamin's dances are great fun, although the less rousing of the eight movements tend to repeat themselves. Pierce and Jonas, with their perfect sense of timing, are ably supported by Kirk Trevor and the Slovak Radio Symphony (Bratislava) on a fine recording."
- Turok's Choice, Issue No. 157, Summer 2004"The critically acclaimed duo-piano team of Joshua Pierce and Dorothy Jonas, together with the Polish Television and Radio Orchestra, perform Francis Poulenc's beautiful Concerto in D minor as well as two world premier recordings: a Fantasie by the Russian composer, Nikolai Berezowsky, and a Concerto for Two Pianos by Paul Creston. Joshua Pierce and Dorothy Jonas have been playing as a piano duo since 1978 and many of their recordings and performances have featured world premieres, including works composed for them by Miklos Rozsa. Their performance on this album of Poulenc's delightful concerto is passionate, witty and exhilarating. Berezowsky's energetic Fantasie and the excellent Creston Concerto are also played with great brilliance and virtuosity, making this an invaluable addition to this prolific duo's recorded repertoire. 'Crisp, clean performances...consistent high spirits. It was delightful to encounter it in a performance of this stature.'"
- The Chicago Sun-Times, 2004"Although the notes don't provide a recording date, I believe this is a reissue of a 1995 Albany disc. Three cheers for the programming and the performers in any event! The Poulenc Concerto for Two Pianos and Orchestra is the only well-known piece and it receives a cleverly different performance, competitive with any. The opening zips along with sparkling, clear articulation in a style more typical for early Prokofiev than for a member of the less ferocious Les Six. Even the lyrical second movement sounds a little less Parisian and more romantically Russian than usual. I've always admired one of its simple, wistfully descending themes."
The Berezowsky Fantasy for Two Pianos and Orchestra in one movement is the shortest of the three pieces here and this is its first performance on disk. It's even more obviously related to Prokofiev and Rachmaninov. Berezowsky was born in Russia in 1900, trained in St Petersburg and immigrated to the United States while in his twenties. His once popular symphonies and concertos have disappeared from the repertoire. The Fantasy, though entertaining, perhaps suggests why. It reminds me of some of the pseudo-concertos written for films with plots about struggling classical musicians. The dual pianists work up some excitement, but the piece hasn't the memorable tunes of the Warsaw Concerto and others.
Creston's Concerto for Two Pianos and Orchestra is the most recent work (1951). Though not quite in the class of the Poulenc, it's a fine composition. This is a first recording and that lends strong support to the idea that tonal works, especially by American composers, fell out of favor around the middle of the last century. Wonder what else we've missed out on? The piece is in three movements. The first comes closest to what I'll call the New-York-City-skyscraper sound, taking itself a bit too seriously. The slow second movement has some lovely melodies. The last movement is a suitably rousing finale.
The pianists (Pierce and Jonas) have all the technique these sometimes difficult pieces require and complement each other beautifully. Solid orchestral support completes the package. This is a most enjoyable disk.
- Ron Bierman, Music & Vision September 2003,"The Poulenc Two Piano Concerto is a beautiful work, full of Gallic wit and charm, with instantly recognizable chunks of Bach and Mozart (i.e. the start of the first two movements respectively), and the tasteful vulgarity of a nose-thumbing maverick. ... It's given a racy performance on this disc ... The result is exhilarating and the virtuosity of the two soloists impressive...A highly commendable disc, the playing of the highest calibre."
- Christopher Fifield, UK Classical Music Web, June 2003,"In prospect this made a fascinating collection...There is something unremittingly insistent about the results (MUSIC FOR TWO PIANOS & ORCHESTRA - KLEOS CLASSICS KL5121) produced by these composers when face with the challenge of writing a work for two pianos and orchestra...The Poulenc is the best known of the concertos. it wears its brightness well. The sound is brilliant...The Berezowsky Fantasie resembles Prokofiev in its shatter-bright energy...It certainly is not short in the brilliance department...The Creston is excellent...The material can stand happily in the company of the Second and Third symphonies...The disc is particularly valuable to explorers of the repetroire but compelling for the central movements of both the Poulenc and the Creston...Delightful work from everyone and especially for the swashbuckling and sensitive Pierce and Jonas."
- Rob Barnett, UK Classical Music Web May 2003,"One Poulenc Double Concerto To Go. This recording, by Joshua Pierce and Dorothy Jonas ("POULENC, BEREZOWSKY, CRESTON," KLEOS CLASSICS KL5121), has one of the best interpretations of the Poulenc Double Piano Concerto I have ever heard. It crackles with energy, has plenty of pathos and is just so totally French. It is a recording I listen to over and over with out ever getting tired."
"I must also give props to them for the Berezowski and Creston concertos as well. These recordings to me, puts you in the excitement of the concert hall. The Berezowski has a wonderful interplay between the two pianos and orchestra. The clarity of their playing - I can't distinguish where Mr. Pierce ends and Ms. Jonas begins in the piece, is like I am looking at the score itself as it is being played. The colossal surprise is the Creston It is unlike anything I have ever heard! It is a massive score and must be quite difficult to play, but their performance has a wonderful sense of ease and continuity. The last movement is a non-stop rollicking tour-de-force that lifts you out of your seat, and leaves you stunned!!"
"I have to say, that Joshua Pierce, Dorothy Jonas and David Amos are a great working combination. They are on the "same page from first note to last note." Its fortunate for the music business to have these wonderful artists around. Go out and get this album!!!"
- Amazon.com, on-line review, November 2, 2002"Cheers for this Broadway Baby. I have long been a fan of duo piano teams, and I have to say that this team, Pierce and Jonas is just, WOW! especially the way they performed Slaughter on 10th Avenue and Candide (one of my favorite Bernstein musicals.) The other arrangements, well, I can hear vocals when I listen to them, especially when listening to the "La Cage" medley. ("BERNSTEIN/RODGER'S CLASSICS," PHOENIX USA PHCD152.)
...Mendelssohn seems to be one of those unpredictable composers who does not maintain a recognizable style but instead will write a romantic piece, or a post-baroque, or something pre-avant garde. I'm never certain what I'll get when I purchase an album with his compositions. I brought this album ("MENDELSSOHN: CONCERTO NOS. 1 & 2 FOR TWO PIANOS AND ORCHESTRA," VOX CLASSICS 7538) because it promised duo pianos, so curiosity drove me and not expectation. I was completely and happily surprised. Th two concertos are not only fluid and romantic, but the pianos resound with a crisp sound that is highlighted against the orchestra. Pierce and Jonas are remarkable. Their playing is neither too driven, such as in some of the key-pounders one finds today, nor too delicate. Instead, they are playing Mendelssohn and they want you to know it. Their coordination is magnificent, as if they played together since birth. These are fairly obscure concertos which deserve much more attention, ranking up there with the violin concertos!.
If you are hesitating about purchasing this album, don't. The recorded sound is crisp and clear, the music fluid and masterful. Lovely and entertaining. I could (and did) listen to it for hours."
"The superb duo piano team of Pierce & Jonas appear on several discs devoted to American Composers. Robert Starer's Concerto for Two Pianos and Orchestra has flashes of brilliance in its writing for the solo instruments (MMC 2170). the piano duo's discs contain Walter Piston's Concerto for Two Pianos (HELICON HE1044). The sound is significantly clearer than that of the original and it is hard to imagine better playing." - Turok's Choice, April 2000
"Performances of Pierce & Jonas are crystalline and easy going."
- Fanfare, April, 2000
"The pianists Joshua Pierce & Dorothy Jonas make their performance of the Starer Concerto for Two Pianos and Orchestra the ultimate in crispness, producing performances that go far beyond documentation."
- Fanfare, April, 2000
"Next, Pierce and Jonas took the stage to perform the charming classical piece Mozart's Concerto for Two Pianos and Orchestra, K. 365. Pierce, who has immense technical command of the instrument along with highly articulate phrasing combined and complemented perfectly with the sensitive phrasing, accuracy and finessed interpretation of Jonas."
"Musical
ideas were tossed back and forth with Mozartianease. a pure melodic and
technical delight. the audience was clearly appreciative and remained
visually enthralled throughout the entire piece, literally hanging on
every note. Pierce & Jonas have in fact, set the standard for many
pieces including many first time recordings."
- Westfield
Leader and Times, April 6, 2000
"The Westfield Symphony Orchestra featured duo pianists Joshua Pierce & Dorothy Jonas in Mozart's Concerto for Two Pianos & Orchestra, K. 365 at the Union Arts Center last Saturday night. Theirs was a solid musicianship rich with subtlety, and the orchestra fully supported it. Pierce & Jonas work marvelously in their framework, trading the musical material back and forth comfortably without leaving seams in the texture, yet shaping it with a hint of their own personalities in the process." - Newark Star-Ledger, April 3, 2000
Robert Starer Two-Piano Concerto for M.M.C. (live recording):
"I find
Joshua Pierce and Dorothy Jonas brilliant technically and highly sensitive
and expressive musically... truly poetic... they have drive and intensity."
- Robert Starer, Composer
1999
Lopatnikoff Concerto for Two Pianos and Orchestra, Tansman Suite for Two Pianos and Orchestra and Malipiero Dialogue VII (Concerto) for Two Pianos and Orchestra (World Premiere):
"Pierce
and Jonas are fast becoming the premiere piano duo in today's recording
world and they send these pieces off with their typical blithe bravado.
Their interpretation of the Lopatnikoff, for example, is comparable to
the Pittsburgh premiere given by the legendary Vronsky and Babin team...
and they far outclass the dim and ragged performance of the Malipiero
by Reding and Piette released on Olympia. Without a doubt, this is one
of the most exciting and necessary releases of the year."
- Fanfare,
July, 1996
"The performances
are brisk, clean-lined and harmonically bright. The slow movements are
elegantly decorative and thoughtful and the finales are joyful vivaces,
especially in these lively performances by Pierce and Jonas--so full of
high spirits and penetrating intelligence."
- American
Record Guide, July, 1996
"No performers
have done more to bring 20th century repertory for two pianos and orchestra
to the listener's attention than the duo-piano team of Pierce and Jonas.
The latest of their stunningly performed discs offers works by Lopatnikoff,
Tansman and Malipiero. All are rewarding works, but the Malipiero stands
out for its technical mastery. Driving performances"
- Turok's Choice, June, 1996
Walter Piston Two Piano Concerto (New York Premiere):
"... they
displayed that sort of emotional and interpretive union that must be second
nature to a two-piano team."
- Peter Goodman, Newsday,
New York
Works for Two Pianos and Orchestra by Creston, Berezowsky and Poulenc:
"A zesty, brilliant performance of the Concerto for Two Pianos and Orchestra by
Francis Poulenc. Tempos are brisk with enough brittle edge to underline the naughty humor of Paris between the two World Wars. It's Poulenc 'sec', free of chocolate coating. . . The Creston Two Piano Concerto is a real applause machine. . .one of Creston's finest works. The Berezowsly Fantasie is extremely effective and rewarding. The performances are notable for their vim and tonal sheen which is typical of the Pierce-Jonas Duo. (A number of their recordings for the Koch label have won major prizes.) . . . Lyrical expanses of expressive depth. Recommended!"
- In Tune Magazine
Works for Two Pianos and Orchestra by Creston, Berezowsky and Poulenc:
"The prolifically
recorded two-piano team of Pierce and Jonas offer an absolutely bang-up
first recorded performance of Paul Creston's 'Two Piano Concerto' (1950/1),
with all the propulsive drive this music requires--two rollicking Allegros
flanking a central Andante Pastorale marked by tender lyricism. Pierce
has also done a good deal recording as a solo artist, including an indispensable
disk devoted to the piano music of Nicolas Flagello."
- Fanfare
John Cage Experiences and Three Dances for Two Prepared Pianos:
"A positively
brilliant knock-out performance..."
- Kyle Gann, Village
Voice
"For a truly
dazzling experience, you should hear the leaner, cleaner, and altogether
faster version of John Cage's 'Three Dances for Two Prepared Pianos' by
Joshua Pierce and Dorothy Jonas on Wergo."
- Fanfare,
Sept., 1997
Miklos Rozsa New England Concerto, written for Pierce and Jonas, with the Utah Symphony Orchestra:
"... polished
and sensitive technicians."
- Paul Wetzel, Salt Lake
City Tribune
On subsequent
performances with the London Philharmonia at a Command Performance for
the Royal Family: "academy award winning."
- Bill Zakasian,
New York Daily News
and the
Midland-Odessa Symphonies: "Dynamically performed with precision and technical
excellence."
- Skye Osborn, Odessa American (Texas)
Francis Poulenc Two-Piano Concerto with Paul Freeman and the Chicago Sinfonietta:
"...
Crisp, clean performances... Joshua Pierce and Dorothy Jonas had it all
down pat ... consistent high spirits. It was delightful to encounter it in
a performance of this stature."
- Robert C. Marsh,
The Chicago Sun-Times
Alan Hovhaness, Mordecai Sandberg, Ivan Wyschenegradsky, Bruce Mather, Stefan Konicek, Roland Moser and Charles Ives rarely heard two-piano works in quarter tones:
"...
very satisfying and brilliant performances of some very difficult music...
and imbued with spirit."
- Kyle Gann, Village Voice
"The Ives
'Three Quarter Tone Pieces,' played by Joshua Pierce and Dorothy Jonas,
sounded hauntingly beautiful ... exemplary throughout... striking."
- Bill
Zakariasen, New York Daily News
Two Steinways on Broadway:
"I am certain that you thought that piano duets of Broadway show tunes went out years
ago with Ferrante and Teicher, but there is an excellent new CD available titled Two Steinways on Broadway featuring the twin piano tour de force of Joshua Pierce and Dorothy Jonas. Mr. Pierce is no newcomer to recordings. The esteemed American virtuoso has received more than 25 Grammy nominations and is considered the foremost interpreter of modern classical composer John Cage. Mr. Pierce and Ms. Jonas make a very successful cross-over with this Broadway release. Sit back and listen to the great songs of Broadway played by pianists who are the very best. Opening with a dynamic rendering of Leonard Bernstein's exhilarating overture to Candide, the other highlights are the medleys from A Chorus Line and West Side Story to splendid renditions of Slaughter on l~h Avenue and The Sound of Music."
- Donald G. Collester,
WDVR-FM, New York City
"The music
of Joshua Pierce and Dorothy Jonas is both moving and graceful and captures
the majesty of Broadway musicals."
- Ralph Howard,
WINS Radio, New York City
"A refreshing
journey down the Great White Way by two extraordinarily gifted pianists."
- Ron Delia Chiesa, WGBH Radio, Boston, Summer,
1995
"Pierce
and Jonas play with confidence, flair and style."
- Fanfare
... a heightened
sense of poetry."
- Daniel Webster, Philadelphia Enquirer
"Two Steinways
on Broadway is shear ear tonic. Joshua Pierce and Dorothy Jonas prove
that twenty talented fingers can bring out musical magic via Lenny Bernstein's
'Candide' and Rodger's 'Slaughter on 10th Avenue.' Hand claps
for this duo with deft digits."
- Gary Stevens, Syndicated
Columnist, National Newspaper Association, August, 1995
Various Other Reviews
"...
exceptional ensemble and glitter."
- San Francisco
Chronicle
"Excellent
performances!... The pianists (Pierce and Jonas) are truly remarkable...
The precision of the team is so extraordinary, you never sense there are
two soloists playing... quite amazing."
- Robert
Sherman, WQXR Radio, New York City
"Duo pianists
Joshua Pierce and Dorothy Jonas have fashioned an electrifying two piano
version of Rachmaninoff's Symphonic Dances."
- Allan
Kozinn, New York Times
"Pierce
is joined by his long-time partner, Dorothy Jonas, for Mozart's complete
works for two pianos. The concerto (K. 365), recorded "live" in Bratislava,
and the K. 448 Sonata, Adagio and Fugue (K. 546, 426) receive vital, precise
readings, and special mention must be made of a reconstructed Larghefto
and Allegro in E flat--a haunting work, hauntingly performed."
- Turok's
Choice
"Joshua
Pierce and Dorothy Jonas are the duo pianists in the Gould, Piston and
Copeland works with the Royal Philharmonic--a great performance! (Rated
10/10--Superior; qualities of unusual merit--Highest rating)
- CD
Review
"Speaking
of virtuosity, piano duo Joshua Pierce and Dorothy Jonas are in driving
command of a difficult program including Rachmaninov's Symphonic Dances
and Russian Rhapsody, along with works by Saint-Saëns,
Britten, Lutoslawski and others."
- Turok's Choice
"The Pierce-Jonas
duo's performances are playful, crisp-rhythm delights!"
- Cincinnati
Enquirer
"The
Three Dances (Cage) for two pianos really electrify. Pianists Joshua
Pierce and Dorothy Jonas play this full of verve..."
- Tagesanzeiger,
Zurich, Switzerland
"Three
Dances ... one of the early keyboard works by John Cage for two pianos
which demands incredible pianism ... is performed in a highly virtuosic manner
by pianists Joshua Pierce and Dorothy Jonas."
- Augsburger
Allgemeine, Germany
"Fantastic
things can be heard in the Three Dances for Two Prepared Pianos ...
Thrilling performances ... powerful ..."
- Klenkes,
Aachen, Germany
TWO-PIANO BIO | TWO-PIANO REVIEWS | TWO-PIANO DISCOGRAPHY | VIDEO | ARCHIVE | HOME
PRESS KIT |MSR CLASSICS | AFMM
For further information Jeffrey
James Arts Consulting
Copyright 2005 Joshua Pierce