"In these 1995 performances by the famed duo of Joshua Pierce and Dorothy Jonas, one notices many instances of the spirited and imaginative interplay of the two pianos with each other and with the orchestra, which is the hallmark of the duo concerto style... In Concerto No.2, the Pierce-Jonas Duo, once again with the able collaboration of the Slovak State Philharmonic Orchestra under Bystrik Rezucha, revel in the yet more sophisticated counterpoint and the beautifully balanced interplay between the orchestral strings and winds, between the two keyboards and the orchestra, and between each other as soloists. As with Concerto No. 1, Pierce, Jonas and friends succeed in capturing both the sheer excitement and the sense of fun inherent in the music."

"I always enjoy hearing unusual repertoire and this exciting disc certainly fits the bill. The label MSR Classics has compiled a disc titled Romantic Music for Two Pianos performed by the partnership of Joshua Pierce and Dorothy Jonas that includes eleven accessible scores. I love how the selection mixes established scores in their lesser known arrangements for two pianos, like Saint-Saëns's Danse macabre, with other scores that I only rarely encounter, such as those from Britten and Bax.

Throughout this recording the splendid partnership of Joshua Pierce and Dorothy Jonas communicate a close rapport conveying refreshing performances of exemplary ensemble. The release benefits from a pleasing sound quality.

The opening score and the earliest to be composed is Saint-Saëns's Danse macabre... this is a thrilling performance of a work that never fails to please.

Written in the USA in 1940 this two piano version of Rachmaninov's magnificent three movement orchestral suite is a great opportunity to hear the composer's original intentions prior to his later full orchestration of the score... Bristling with ideas the opening movement Non Allegro is performed briskly by the impressive duo with a vivacity and drive that contrasts greatly with the contemplative inner section.

The light-hearted Polka Italienne... is given an uplifting performance so immersed in summer sunshine. [In Rachmaninov's] Prélude in C sharp minor, the partnership develop the famous score from its heavy and cumbersome texture to a thrilling and vibrant journey.

Rachmaninov's delightful Russian Rhapsody is a student composition from the Moscow Conservatory. Long thought lost this folk-song infused score is given a terrific performance packed with exhilaration.

The Introduction and Rondo alla burlesca from 1940 is an earlier product of Britten's stay in the United States. One is aware of the driving forward momentum that Pierce and Jonas positively assign to their performance.

Bax composed The Poisoned Fountain in 1928 a work inspired by the Secret Well of Segais from his beloved Celtic mythology. This performance from Pierce and Jonas convincingly evokes an air of mystery and of flowing water from the well. [In his] Variations on a theme by Paganini...Lutoslawski utilised the last of Paganini's 24 Caprices for unaccompanied violin, successfully capturing in this interpretation from Pierce and Jonas the sparkling and carefree nature of the work."

"[Pierce & Jonas'] precision ensemble is enhanced by their generally crisp and clean sound...they have individual and joint technical expertise that is hard to beat. Pierce and Jonas [in the Debussy-Ravel] get the nod over the illustrious recording by Josef and Rosina Lhevinne. The Lutoslawski Paganini Variations are also top notch...none of [Liszt's] brilliance is lost here. Pierce and Jonas'] Rachmaninoff let me hear some different things...and proved to be quite enjoyable...a worthy addition to Rachmaninoff and two-piano collections."

"...a stunning disc."

"[Pierce and Jonas] meet the music's demands with flair..."

"This reissue is intended to celebrate the 30th anniversary of the founding of the Pierce & Jonas two-piano team. They have been performing and recording the usually neglected repertory of two-piano music from the 19th and 20th centuries, as well as new works written especially for them, and are one of the top duo-piano teams in the world today. These recordings were made between 1979 and 1988, and they constitute a wonderful two-piano concert without a dud in the group.

The entire program is a gas, but my other favorite was the mysterious Poisoned Fountain of Bax. He was a fan of two-piano works and wrote several. He instructs the two pianists to play independently of one another - one doing strange medieval chords while the other does rolling arpeggios representing the flowing waters.

Sonics are fine; you two-channel holdouts should love this one: sit in your sweet spot and revel in the byplay of the two pianos on your left and right - there's just enough separation.

In Symphonic Dances, the famed duo-piano team of Joshua Pierce and Dorothy Jonas celebrate their 30th anniversary in style. These MSR remasterings of 1979-1988 recordings of these artists playing colorful and thrilling works by romantic and modern composers haven't aged a day. In terms of sonority, timbres, and a dazzling palette of tone colors, only the symphony orchestra can rival what we have here with two artists of the keyboard playing in communication with each other, the composer, and the listener.

The program is varied and attractive. It begins with Camille Saint-Saëns' ghostly Danse Macabre with its familiar zig-zag rhythms under the melody. The clatter of the dancing bones and the discordant harmony are beautifully re-created here.

Then we have a major work by Sergei Rachmaninov, his Symphonic Dances, Op.45, in the original two-piano version that was later scored for orchestra. It is in three movements, the first a brisk but funereal march, the second a slow waltz in a darkened ballroom, with a quote from the chant for the dead Dies Irae, which was a recurring motif in Rachmaninov's career. The third is a dance of death, but with an uplifting coda (recaptured very effectively in this performance) that the composer based on the "Alleluja" from his Vespers.

The good work in the name of Rachmaninov continues with a charming Polka Italienne, a portentous account of the ever-popular Prelude in C-Sharp Minor with its crashing octaves and sonorous chords, and a spirited account of the rousing Russian Rhapsody that makes us realize how much fun the duo-piano repertoire must be to perform as well as listen to.

Next, we have two highly animated, lively works by Benjamin Britten, his Mazurka Elegaica, and Introduction and Rondo alla Burlesca, and The Poisoned Fountain by Arnold Bax, the last-named mysterious, colorful and flowing, as befits the subject. Arthur Benjamin's Jamaica Rhumba glories in the colorful rhythms of that Latin dance.

Claude Debussy's Fètes (Festivals) from Trois Nocturnes, heard here in the two-piano version of Maurice Ravel, gives Pierce and Jonas the opportunity to revel in its highly characterized writing and its subtle rhythmic variety. Finally, Polish composer Witold Lutoslawski's Variations on a Theme by Paganini presents a dozen light-hearted, if occasionally edgy variations of the same resilient theme that Brahms, Rachmaninov and others had mined so extensively.

"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 Jarvenpää 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."

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."

"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'"

"... 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. "

"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."

"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."

"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."

"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.'"

"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.

"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."

"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."

"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!!!"

"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

"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

"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

"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

"... they displayed that sort of emotional and interpretive union that must be second nature to a two-piano team."
- Peter Goodman, Newsday, New York

"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

"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

"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

"... 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)

"... 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

"... 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

"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 10^th Avenue.' Hand claps for this duo with deft digits."
- Gary Stevens, Syndicated Columnist, National Newspaper Association, August, 1995

"... 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

For further information Jeffrey James Arts Consulting
Copyright 2005 Joshua Pierce