"Joshua Pierce's interpretation of the Tchaikovsky Concerto in B flat minor was one of dazzling bravura!"
- San Diego Press Heritage,

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"By treating even less virtuosic portions of Tchaikovsky's First Piano Concerto with rhythmic acuity, Joshua Pierce offers an original perspective on the much loved score. The disc also contains Pierce's intense performances of the single movement Third Concerto, and Liszt's Totentanz. A superb reissue contains the pianist's powerful readings of two masterful large-scaled but little-known Italian works Respighi's Toccata and Casella's Partita, along with a virtuosic reading of Rachmaninov's Paganini Rhapsody."
- Turok's Choice, March 1999

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"It is the force of Joshua Pierce's personality that holds these performances together. The New York-born pianist plays with tremendous dramatic flair tackling the Tchaikovsky Concerto No. 1 in Bb minor, Op.. 23 with exuberant relish. There is nothing slapdash about his spontaneity either. Even in fortissimo his tone never becomes harsh or clangy and his playing of the slow movement is attractively bubbly. ... In the one-movement Concerto No. 3 his infectious bravura is just as welcome showing how much good material there is in this off-cut from Tchaikovsky's workbench."
- Brian Hunt, London Daily Telegraph, London, England, August 8, 1998

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"Joshua Pierce's recording of Tchaikovsky's Piano Concerto No. 3 in E-flat (Carlton Classics) absolutely incredible ... musically brilliant and interpreted on the highest level ... such clear playings. Mr. Pierce's recordings have always been some of the best around. I just don't understand ... Could it be that Mr. Pierce just might be one of the most unique pianists in America today?"
- WJTC FM, Jacksonville, Fla., May 9, 1997

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"Tchaikovsky's Seventh Symphony and Third Piano Concerto are coupled on a fine release and this disc is fully competitive with the identical coupling on Chandos. Joshua Pierce platys the concerto with great virtuosity, Pierce's superb version of Khachaturian's Piano Concerto along with Prokofieff's First Piano Concerto and Shostakovich's Second are played with excitement, sparkle and feeling."
- Turok's Choice, Summer 1997

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"Joshua Pierce's excellent performance of the complete set of John Cage's Sonatas & Interludes for Prepared Piano was a superb account."
- New Music Connoisseur, May 1999

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"Pierce's combination of lyricism and rhythmic urgency is remarkable! ... Great beauty and richness ... Unruffled serenity and enormous charm. Joshua Pierce approaches these pieces with the necessary seriousness of purpose and brings out the spirit of playfulness implicit in the music. The rhythmic propulsiveness of the dance scored is capably brought out, as is the dreamy but focused tone of the more inward-looking pieces."
- San Francisco Chronicle, September 10, 1989

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"Joshua Pierce proves himself to be a musically brilliant and intelligent interpreter."
- Szene, Germany, October 1989

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"A recent New York recital by Joshua Pierce provided outstanding pleasures and magical variety ... Mr Pierce devoted the second half of his recital to the Sonatas and Interludes of John cage. Mr Pierce plays them with respect and reserve as if handling porcelain."
- Nicolas Kenyon, The New Yorker, NY

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"Mr. Pierce brought his performances of Mozart, Chopin, Eisler and Liszt to a rousing conclusion with a brilliant rendition of four piano pieces by Louis Moreau Gottschalk."
- William Fennell, The Union Leader. Manchester, NH

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"If piano music lovers have not yet heard of Joshua Pierce, they soon will. His immense musical ability deserves major recognition.
- Berkley Heights-New Providence Press, New Jersey

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"Mr. Pierce proved, beyond a doubt, that he is a master."
- Summit Independent, Summit, NJ

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"Mozart's lovely Sonata in B-flat, K333, was played with great color, almost at times as if Mr. Pierce were a conductor. The performance was particularly effective with the pianist capturing the gentle simplicity and sweetness of this music."
- Chatham Independent, New Jersey

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"In the Sonata No. 21 in C, Op. 53, the well-known Waldstein by Beethoven, Mr Pierce played as one possessed by the music, conveying the titanic power, contrasting dynamics and vast drama of the Sonata."
- N. Scruggs, The Independent Press, Chatham, NJ

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"In the Liszt Hungarian Rhapsody No. 6, Mr. Pierce settled down to a virtuostic performance and finished with a flurry of fireworks - a breathtaking performance which brought well-deserved bravos from a most enthusiastic and appreciative audience."
- N. Scruggs, The Independent Press, Chatham, NJ

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"All technical difficulties in the six Chopin Etudes from Op. 10 were admirably conquered by Mr. Pierce as he wrapped his audience in a glowing river of sound."
- Short Hills-Millburn Independent,

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"Microtonal Masterpieces of the 20th Century proved highly enjoyable (Newport Classics NPD85526). Charles Ives' Three Quarter Tone Pieces for Two Pianos are classics of the genre. A brief Meditation for Bassoon and Piano by Wychnegradsky as played by Johnny Reinhard and Joshua Pierce is lovely, and Harry Partch's Yankee Doodle Fantasy is riotously imaginative. Fine performances by duo-pianists Joshua Pierce ad Dorothy Jonas, and others. Pierce's lively, sensitive performance of Cage's Sonatas and Interludes for Prepared Piano is the best ever recorded."
- Turok's Choice, Summer 1992

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"Joshua Pierce's performance of the Partita for Piano and Orchestra by Alfredo Casella is fantastic. All three movements are played with color, vivacity and cheeky wit — and very Italian. The Respighi Toccata for Piano and Orchestra is also memorable, sure-footed and powerful performance. The Rachmaninov Rhapsody is a spiritedly crisp performance."
- Classic CD, November 1998

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"Important, unusual repertory is brilliantly played by pianist Joshua Pierce. Casella's delightful Partita for Piano and Orchestra receives its first recording and Respighi's Toccata a much needed CD update. A fiercely exciting reading of Rachmaninov's Paganini Rhapsody adds dimension of modernity without slighting the work's poetry. Excellent accompaniments by Anton Nanut and the Slovenija Radio Orchestra. Recommended!"
- Turok's Choice, February 1993

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One of the top albums of 1989
"Painfully sensitive ... Joshua Pierce brings a rare blend of virtuoso technique, reverence and playful abandon while skating on one blade over delicate Rubato passages that would crack under the weight of a more ponderous interpretation!"
- Mark Dery, Keyboard, February 1, 1990

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"Joshua Pierce's performances are extraordinary .. purity and elegance!"
- FanFare, October 1989

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"Surrounded by magical sounds, Joshua Pierce makes the listener forget completely, that piano music is still being produced with keys, strings and hammers"
- Basler Zeitung, Switzerland, November 8, 1989

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"Pierce displays a fair degree of flashiness, subtlety and charm. Colorful and impressive playing."
- Classic CD, January 1998

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"Khachaturian's Piano Concerto receives an acute, powerful and energetic performance from Joshua Pierce, by far the finest on digital CDs. Pierce also offers brilliant playing of the Prokifieff First and Shostakovich Second Concertos,. Paul Freeman leads in excellent orchestra accompanients."
- Turok's Choice, November 1991

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Headline - The Talent of Joshua Pierce
"Without a doubt, the most excellent and musical performance of the day was by the guest pianist Joshua Pierce. His precision combined with great emotion consecrated the interpreter's ability to handle the difficulties of the Concerto for Piano and Orchestra by Aram Khachaturian, through an impeccable technique. It was the great artistry of Pierce which kept whatever imperfections the orchestra, notwithstanding, were omitted by Joshua Pierce's talent, who clearly transmitted Khachaturian's Armenian feeling with a cynical form along the three suntous movements ...
"Simple style, freedom of expression and the ability to attract the audience through Khachaturian's rigor, made possible the success of Joshua Pierce, nourished by David Amos's support and good harmonization of the Orquesta Sinfonica de Centro Social Israelita de San Diego ending-up as a brilliant praiseworthy conclusion valued by the very well deserved applause." - Gaby Olivares Torres, ZETA, Tijuana, Mexico, March 9, 1990

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Headline - Pierce, Amos Sparkle in Concert
"An orchestra concerto with piano soloist in Tijuana, Mexico, and Coronado, Calif., can hardly compete with the front-page headlines in today's news. If, however, a concert deserved such prominence it would certainly be the performances February 24 and 25 by Joshua Pierce and the Orquesta Sinfonica de Centro Social Israelita de San Diego. David Amos, the conductor of the orchestra, through his special magic, has been able to attract young, dynamic musicians as soloists with his orchestra. The recent program, included Mr. Pierce performing the Khachaturian Concerto, was a new high for all who attended.
"Mr. Pierce demonstrated an outstanding technical capacity, coupled with carefully controlled dynamics and expression. The lyrical portions of the concerto were performed with beautifully phrased lines and tasteful timing.
"Joshua Pierce is an artists of enormous talent, prepared to play a large repertoire of the major concerti and deserving the attention reserved for extremely talented musicians. His playing exudes vitality, excitement, enthusiasm, expressiveness and a total commitment to his art. An opportunity to hear him perform would be a memorable evening for the most discriminating of music lovers."
- Robert Forman, San Diego Press Heritage, March 16, 1990

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"Joshua Pierce's recording of concertos by Khachaturian, Prokofieff and Shostakovich is just about the best ever - hands down, Incredible playing. Mr. Pierce leaves most pianists far behind."
- El Informidor Guadalajara, Mexico, Sept. 5, 1997

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"Joshua Pierce plays with precise sonorous and dynamic refinement!"
- Fono Forum, Germany, December, 1996

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"David Ward-Steinman's Child's Play for bassoon (Johnny Reinhard) and piano (Joshua Pierce) shifted tonality by drawing on wind multiphonics and strumming of the piano's strings ... successfully demonstrating the diversity of the language of microtonality. They combined between - the - cracks intonation effects with the other avant-garde devices, which made then sound thoroughly conventional."
- Alex Ross, The New York Times, May 20, 1993

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"Joshua Pierce created a sensation wherever he performed ..."
- The Costa Del Sol Scene, August 1976

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"Brilliant young pianist ..."
- Francisco Cagigas, Sur, Spain, August 1976

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"It is necessary to have a pianist of Pierce's caliber to bring out the subtle characteristics of this music. These masterpieces are played with creative gestures .... flourishes in music which demands it and the suppleness of contours lends evidence to the evanescence of the performances."
- Monde Musique, Paris, France, September 1989

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"Joshua Pierce succeeds in very impressive manner in being able to communicate elements of both sounds and silence to the listener. This recording can be recommended most warmly..."
- Nordschweiz/Besler Volkblatt, Switzerland

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"Full of wonderfully delicate effects ... A punchy romantic with a big technique, Pierce is also a musical player who approach may be just right for enticing listeners to this repertoire."
- Mark Swed, Classical, April 1990

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"... Elegant and tender performances ... mythologically dark to light of consciousness ..."
- Schweizer Tagesanzieger,

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"Pierce played both pianos at once in The Feast of Saint Luke by Bostonian Joseph Gabriel Maneri; the piece took the evening's only atonal appearance to both pitch and form and kept the ear deliciously confused in two directions at once."
- Kyle Gann, The Village Voice, July 2, 1991

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"Joshua Pierce is an extraordinary pianist as at home with this strange and difficult music as he is with the traditional repetory."
- Turok's Choice, Summer 1990

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"Joshua Pierce is highly pianistic ... transformation of piano sounds, tambres, and sonorties to a clearly realized performance where the emotion of these pieces are admirably demonstrated (WERGO 60151-50)."
- Jean Francois Pioud, Etude Reveu, Paris, France, December 1989

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"As important, highly prized recording (WERGO 60151-50) which approaches Cage's music without compromise ... Pierce's interpretation is a mixture of strength, poetry and beautiful harmonies."
- Jean Francois Pioud, Etude Reveu, Paris, France, October 1989

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"Joshua Pierce's exploration of Cage's music is one of joy. He approaches the Sonatas and Interludes with both respect and liberty. He is able to transport the listener back to the time of the composition's creation. The result is a tender and sublime performance."
- Repertoire, Paris, France, November 1989

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"Pierce plays the Sonatas and Interludes for prepared piano in a very delicate and sweet manner, sometimes hypnotic yet never aggressive. Tempos are less expansive that Gerard Fremy's, however Pierce's approach confirms his own mastery, control and diversity in this work."
- Bruno Serrou, Compact, Paris, France, November 1989

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"Joshua Pierce proved to be a sensitive interpreter of John Cage's music. He really knows how to make the listener appreciate and understand this music"
- Fono Forum, Germany, November 1989

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"Pierce is fantastic ... lightning quick virtuosity! Jeanne Kirstein's Perlous Night on her old two-disc Columbia set seems flat and timid next to Pierce's explosive reading. Pierce's recording of TV Koln turns its eighty-two sounds into effective avant-garde theatre .... The Nocturne for violin and piano is played with a delicate romanticism that seems well-suited to it. I am very excited about this release and can't wait for Wergo to continue the series."
- Kyle Gann, FanFare, August 1989

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"It is necessary to have a pianist of Joshua Pierce's stature to clearly bring out all the nuances and subtle difference, so inherent in this music ... clear and well focused. His (Pierce's) gestures are always creative in music that demands it ... Suppleness of contours in Pierce's playing gives evidence to his evanescent and masterly approach."
- Costin Cazaban,

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Beethoven Emperor Concerto with the National Symphony of Lima under the direction of Jose Carlos Santos (South American Debut):

"An exciting performance... It was an idiomatic, robust, yet highly personal interpretation--one that drew wild and spontaneous applause from a sold-out house. Mr. Pierce plays with conviction and authority. His tone is big but he can also turn a beautiful phrase when he wants to. For this listener, his playing of the second movement was total magic... Beautiful playing!"
- Jose Aiguanaido, El Comercio, Lima, Peru

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"Joshua Pierce's performances are extraordinary - purity and elegance."
- Fanfare

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"Pierce's combination of lyricism and rhythmic urgency is remarkable!... Great beauty and richness... unruffled serenity and enormous charm. Joshua Pierce approaches these pieces with the necessary seriousness of purpose and brings out the spirit of playfulness implicit in the music."
- San Francisco Chronicle

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"The performances of Joshua Pierce are dynamically subtle... This music is peaceful and profound... brilliantly played..."
- Yale Review

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"Joshua Pierce plays with clear logic... impeccably crafted phrases..."
- Contemporary Keyboard

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Brahms Piano Concerto No. 1 in D minor, Op. 15 (live recording):>

"Interpretation and technique on a grand scale, so intensely projected that even the orchestra seems to be inspired by it."

"A remarkable performance of Brahms' First Piano Concerto by Joshua Pierce is an ear-opener. It offers an energetic, virtuosic, highly expressive approach that turns a standard repertory item into an exciting, fresh listening experience. Highly recommended."
-Turok's Choice, January, 1995, and July, 1994

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"After hearing Joshua Pierce's virtuosic and breath-taking live performances of the Brahms Piano Concerto No. 1 in D minor, Op. 15, it has become this reviewers favorite version by far ... A truly magnificent performance. Pierce holds an important reputation in today's musical world! His many, many compact discs are eagerly sought after by his enthusiastic public."
- S. Matos, El Informador, Guadalajara, Mexico, 1998

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Heskel Brisman's Piano Concerto (1965): "Heskel Brisman's Piano Concerto (1965), a product on the 60's, is a brisk, if hard-edged work, much akin in style and substance to Bartok's Second Piano COncerto, though quite different in orchestration. And even though written 17 years earlier Brisman's complex and restless score reminds us a bit of Charles Wuorinen Third Piano Concerto. Mr Pierce is equal to the task of interpreting this music with an athletic vigor and agility in the outer movements and while projecting uneasy calm in the middle movement. The playing is extremely crisp and assured."
- Music Connoisseur Magazine, Summer 1995 (Vol. 3, No. 3)

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"Mr. Pierce's playing is quite powerful and totally absorbing. The performance is committed and admirably fearless throughout."
- Fanfare, January, 1996

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John Cage (various works from Wergo recordings and live performances):

"... Joshua Pierce is the greatest living exponent of the 'Sonatas & Interludes."'
- David Hurwitz

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"The Works for piano and prepared piano, Vol II are an excellent collection of dynamic pieces written by John Cage. These pieces are organized rhythmically, coherently and are played with a dramatic-oriental atmosphere by Joshua Pierce."
- Frankisches Volksblatt, Germany, May 22, 1989

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"Three Dances is the name of 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. There is also a highly ecstatic and tender performance of Cage's Nocturne for violin and piano - thoughtful and sensitive playing by Pierce and Frank Almond."
- Augsburger Allgemeine, May 13, 1989

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"Fantastic things can be heard in the Three Dances for two prepared pianos ... Thrilling performances ... powerful ... a fine, tender performance of Cage's Nocturne for violin and piano by Joshua Pierce and Frank Almond."
- Klenkes, Germany, July 1989

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"Cage's Sonatas and Interludes are performed brilliantly by the sensitive pianist Joshua Pierce."
- Neue Westfalische, Germany, August 3, 1989

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"Joshua Pierce brings to John Cage's music an almost uninhibited classicism, but that only bolsters the compositions. He opens A Room and emphasizes its shifts with the attention of a concert pianist, rather than someone who follows Cage's directions to play the piece very quietly. Pierce, in fact, takes each of these dozen works, all of them dating to the 1940s and '50s, and draws from them the resonant Cagean oddness--phrases of weird shapes and all. But he adds a ton, too. In a Landscape sounds almost wholeheartedly minimalist in its tone colors, and She Is Asleep sounds both drummerly (on the artfully flat prepared piano) and jazzy, with Jay Clayton dropping some scat vocals in ever so subtly. This is, after all, the period when Cage was discovering the closeness between percussion and motion, on the one hand, and percussion and the modified piano, on the other hand. So these pieces blurt out chunky phrases, build with shaded drama, and rumble delicately along. It's a difficult assessment making suggestions when it comes music so notoriously open to interpretation. But Pierce has played all the Cage piano and prepared-piano stuff, creating a Wergo series that any lover of the piano repertoire should own in full. Here, anyway, is an excellent introduction, perfect for the Cagean neophyte and still inventive enough to energize owners of Roaratorio or Frances Marie Uitti's Works for Cello."
- Andrew Bartlett , Amazon.com

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"Pierce displays flashiness, subtlety and charm. Colorful and impressive playing."
- Classic CD,1998 "Joshua Pierce's distinguished traversal of Cage's piano music continues with a fourth volume on WERGO, including powerful performances of the Metamorphosis and Bucchanale (major works) and number of Pierce's imaginative realizations of works for multiple pianos."
- Turok's Choice, June 1997

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"In Four walls, a major dance work for solo piano, with a single movement for solo voice, the paucity of John Cage's skill in building effective shapes even on the smallest scale is evident in this superb recording fro Albany Records. Virtuosic playing by Joshua Pierce, and Robert White's lovely singing make listening to this music easy."
- Turok's Choice, May 1997

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"Here are two almost simultaneous release of John Cage's mammoth Four Walls for unprepared piano. In this kind on preminimal music, however, brevity is a virtue to be valued, and when I compare McAlpine's recording with the Pierce and discover that the latter takes 52 minutes where McAlpine takes 59, the choice seems clear. Also Robert White is one of the best singers around and manages to make Merce Cunningham's surreal poem sound as if he meant every word. Also, Pierce includes a number of other short Cage pieces associated with the dance. He brings to these pieces the authority of having performed and recorded more Cage (prepared and unprepared) than anyone else in the world."
- American Record Guide, September/October 1996

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"Joshua Pierce is one of today's most experienced interpreters of Cage's early, pre-indeterminate keyboard music, with three volumes of works prior to 1960 on WERGO CDs, plus other pieces from LP dates still awaiting reissue. Pierce's documentation of this music is invaluable .. engaging performances I can find little to fault in his version of Four Walls, His crisp phrasing captures much of the stark and obsessive repetition of the music. This is a strong, valid performance, and its is unique in offering a tenor voice in the single unaccompanied song to words by Merce Cunningham, What makes this release even more valuable are the five additional pieces Pierce includes. Two fo them, Quest and Our Spring Will Come are recording premiers."
- Art Lange, FanFare, September/October 1996

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"Virtuosic playing by Joshua Pierce."
- Turok's Choice, May, 1997

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These works of Cage, as performed by Joshua Pierce, are fascinating to consider; fascinating to listen to..."
- The New York Times

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"Joshua Pierce... again demonstrates his sensitivity to the composer's esoteric ideas. Hard, striking, dissonances and furious rhythms.... One cannot deny the magnitude of Cage or this recording... much poise and sensibility..."
- Downbeat Magazine (Five Stars)

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"The performances by Joshua Pierce are very expert. Pierce plays with a slightly softer edge than did David Tudor."
- Pianoforte, Great Britain, January, 1997

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[Mr. Pierce's performances] "provided outstanding pleasures and magical variety. Mr. Pierce played them [Sonatas and Interludes] with respect and reserve as if handling porcelain."
- Nicholas Kenyon, The New Yorker

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"Pierce's rendition is the most delicate and intimate of the three currently available recordings of Cage's Sonatas and Interludes. By contrast Gerard Fremy is too emphatic and his resonant acoustic tens to make things sound bloated/ Pierce is also brighter and more vivid than the Yuji Takahashi recording ... Still, Pierce and Takahashi are the best!"
- American Record Guide, May/June 1990

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"Tastefully realized performances by the pianist Joshua Pierce. In avant-garde circles, this is classic material."
- St. Louis Post-Disptach, June 28, 1989

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"Here are two almost simultaneous releases of John Cage's mammoth Four Walls for unprepared piano. In this kind of primal music. however, brevity is virtue to be valued, and when I compared McAlpine's recording with Pierce, and discover the latter takes 52 minutes where McAlpine takes 59, the choice seems clear. Also Robert White is one of the best singers around and manages to make Merce Cunningham's surreal poem sound as if he meant every word. Also Pierce includes a number of other short Cage pieces associated with the dance. He brings to these pieces the authority of having performed and recorded more Cage than anyone else in the world,"
- American Record Guide, September/October, 1996

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"Joshua Pierce is one of today's most experienced interpreters of Cage's early, pre-indeterminate keyboard music, with three volumes of works prior to 1960 on Wergo CDs,plus other pieces from LP days still awaiting reissue. Pierce's documentation of this music is invaluable... engaging performances. I can find little to fault in his version of Four Walls. His crisp phrasing captures much of the stark obsessive repetition of the music. This is a strong, valid performance, and it is unique in offering a tenor voice in the single unaccompanied song to words by Merce Cunningham. What makes this release even more valuable are the five additional pieces Pierce includes. Two of them Quest and Our Spring Will Come are recording premiers."
- Fanfare, September/October, 1996

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"John Cage's works for normal. altered or unusual pianos may turn out to be his most enduring contributions to music as we generally know it, and Joshua Pierce is to my mind, the greatest living exponent of them. His Sonatas and Interludes are fluent and characterful performances. A Book of Music, for two prepared pianos, is probably Cage's masterpiece in this medium, and this substantial work alone justifies purchase of WERGO's companion disc. The various pieces for two pianos are brief, and interesting enough so as not to overtax the limits of their designed medium. Once agin, performances by Pierce and friends are outstanding, as is the sound on both discs."
- Fanfare, December 1991

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"Pierce's interpretation is a mixture of virtuosity, strength, poetry and beautiful harmonies.",
- Etude Revue, Paris, France

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"Pierce's lively, sensitive performance of Cage's 'Sonatas and Interludes for Prepared Piano' is the best ever recorded."
- Turok's Choice, Summer, 1992

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"The American, Pierce, is one of the leading Cage interpreters of our time!"
- Neue Zuricher Zeitung

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John Cage Four Walls with Korean choreographer Sin Cha Hong at Anthology Film Archives (NYC 1994):

"...quite possibly some of the greatest piano playing I have ever heard."
- Videoartist and Cage contemporary Nam June Paik

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"Pierce's rendition is the most delicate and intimate of the three currently available recordings of Cage's 'Sonatas and Interludes.' Pierce is also brighter and more vivid."
- American Record Guide

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"Painfully sensitive ...Pierce brings a rare blend of virtuoso technique, reverence and playful abandon while skating on one blade over delicate rubato passages that would crack under the weight of a more ponderous interpretation."
- Mark Dery, Keyboard Magazine

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"Joshua Pierce plays the music of Cage as imaginatively as its most famous exponent, David Tudor, did on records years ago."
- Alan Rich, Los Angeles Herald Examiner

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"Quintessentially exciting..."
- Village Voice, New York

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"... a highly ecstatic and tender performance of Cage's 'Nocturne for Violin and Piano'... thoughtful and sensitive playing by Pierce and Frank Almond..."
- Augsburger Aligemeine, Germany

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"Pierce is fantastic... lightening quick virtuosity! Jeanne Kirstein's Perilous Night on her old two-disc Columbia set seems flat and timid next to Pierce's explosive reading. Pierce's recording of TV Koeln turns its eighty-eight sounds into effective avant-garde theatre... The Nocturne for violin and piano is played with a delicate romanticism... I am very excited about this release and can't wait for Wergo to continue the series."
- Kyle Gann, Fanfare

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Nicolas Flagello on Premier Records:

"Pierce's performance of the 'Piano Sonata' is a masterpiece and an alternative to the widely played Barber Sonata. Flagello is quoted in the liner notes as describing Pierce as 'an instinctive pianist, totally at one with the instrument. This gives his playing a natural, impetuous quality that is right for my music.' There is little that one can add to such a testimonial except to say that the qualities identified by Flagello are readily apparent to this critic. This is playing of crisp definition and kenetic vitality... an indispensable record release!"
- Fanfare, September, 1991

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"The release of an all Flagello performance on Premier Recording (PRCD 1014) - and one as superbly performed by the American pianist Joshua Pierce - is a special occasion and one that might prompt listeners to discover a composer whose music is far more rewarding than his obscurity might suggest ... Pierce's performance of the Flagello Piano Sonata is a masterpiece and an alternative to the widely played Barber Sonata. The third movement for example is a stunning perpetuum mobile that hurtles forward frenetically, ultimately culminating in a peoration of excruciating technical difficulty .. Flagello s quoted in the liner notes as describing Pierce as 'an instinctive pianist, totally at one with the instrument. This gives his playing a natural impetuous quality that is right for my music.' There is little one can add to such a testimonial except to say that the qualities identified by Flagello are readily apparent to this critic. This is playing of crisp definition and kinetic vitality .. An indespensible record release!"
- FanFare, Sept/Oct 1991

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Gershwin's Rhapsody in Blue at Madrid's Los Veranos de la Villa Festival and Palma de Mallorca"s Fiesta del Verano with only three day's notice:

"beguiling, lilting lyricism"
- The New York Times, July 1995

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"Both Gershwin works (Piano Concerto and the complete restored Rhapsody in Blue) feature the involved and informed playing of Joshua Pierce. Pierce has strong credentials in 20th Century Music and his approach coupled clean phrasing with a close understanding of Gershwin's jazzy syncopated rhythms to good effect. The Rhapsody had the added advantage of Gershwin;s original slightly larger score. The added material filled the work out, making it less of a pastiche, giving Pierce more room to shine, an opportunity of which he took full advantage."
- Peter Spencer, Newark Star Ledger, Newark, NJ, October 6, 1998

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"Mr. Pierce's performance of the Gershwin Piano Concerto did not disappoint. His 'expansive' interpretation went from an upbeat toe-tapper to sultry piano to soft and romantic music. The Rhapsody was sublime, and received a well deserved standing ovation."
- Jacquie McCarthy, Rahway Progress, Rahway, NJ, Oct. 8, 1998

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"Pianist Joshua Pierce's elegant readings of the Gershwin Concerto in F and the Rhapsody in Blue brought the audience to its feet. While completely satisfying, Mr. Pierce brought great energy and verve to both performances."
- Paul Somers, Classical New Jersey, Oct. 7, 1998

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"The magnificent soloist Joshua Pierce won the great respect and enthusiastic response from a discerning and sophisticated audience which overflowed to capacity at the Degollado Theatre and gave to the pianist a huge and prolonged standing ovation. For an encore, the pianist was obliged to repeat the 2nd and 4rd mvts. of the Rhapsody in Blue. ... So much is his high pianistic skill, incredible technique and tremendous human qualities, the maestro Pierce literally hit the heights as one of the greatest pianist to ever perform at the Degollado Theatre. It is not in the vain that he is compared to the legendary pianist Vladimir Horowitz. With great tempos, the high skills of poetic interpretation Joshua Pierce made known his brilliant technique is such a way, that what the pianist had in his head was fully realized in his fingers. Every aspect of the pianist interpretation is in complete harmony, filled with honest feelings and musical intelligence; with each note shaped in precise, spiritual and chrystalene way. ... Mr. Pierce's breathtaking performance, with all its intimate moments and masterful levels of authenticity, would be just about impossible to repeat."
- Guillermo Sanchez Rivera, El Occidental, Guadalajara, Mexico, May 27, 1998

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"The crowning interpretation of the solo part of George Gershwin's Rhapsody in Blue by the American Pianist Joshua Pierce evoked a great ovation by the public and an encore of the lovely 2nd theme and last part of the work."
- Dora Traczuk, Siglo 21, Guadalajara, Mexico, May 26, 1998

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"The North American Pianist of international stature, Joshua Pierce participated as the invited soloist for the concert in homage to George Gershwin in the Century of his birth. His performance of the Piano Concerto was so tremendously applauded that the performance of the great pianist Joshua Pierce together with the Philharmonic of Jalisco, interpreted the work in a brilliant and notable performance under the direction of Guillermo Salvador."
- Ocho Columnos, Guadalajara, Mexico, May 30, 1998

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Charles Ives Universe Symphony at Alice Tully Hall, Lincoln Center, New York (1995):

"... Ives to the core... idiomatic throughout."
- Alex Roth, New York Times, March, 1995

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Liszt Concerto Pathetique and Franck Les Djjins with the Bohuslav Martinu Philharmonic, conducted by Kirk Trevor:

"... vigorous playing style... outstanding playing skill. Joshua Pierce... captivated his audience with brilliant articulation, which supported pure and intelligible sound as well as delicate dynamics and supple melodic lines. Liszt's dramatically extreme composition suits Pierce's clean articulation very well. However, Pierce's interpretation also emphasized the dramatic role of the piano of not just another French 'colour creating element' in the orchestra."
-Pavel Stojar, Malada Fronta/DNES, Zlin, Czech Republic, 1999

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"Liszt's most important music for piano and orchestra and then some (the two concertos, Hungarian Fantasy, Malediction, Totentanz, Rhapsodie Espagnole, Wanderer Fantasy and the Third Piano Concerto, an early work Liszt never revised) is brilliantly performed by Joshua Pierce (Carlton 30367 0217, 2 CDs). Pierce's impetuousness and massive technique make him an ideal interpreter of this music; there are passages (one particularly noticeable in the Fantasy) where his ability to clarify chords on the run, so to speak, illuminates Liszt's more experimental voicings that are swamped in most performances. Performance wise, the set is fully competitive."
- Turok's Choice, February 1998

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Liszt's Piano Concertos Nos. 1, 2 and 3, Fantasia on Hungarian Folk Themes, Rhapsodie Espagnole, Malediction, Totentanz and Wanderer Fantasie: "Joshua Pierce makes of Liszt's Totentanz an exhilarating 'tour de force,' concluding with a whirlwind fugue and a positively blistering peroration. And he offers a bracing account of the Wanderer Fantasy - a work that in less daring hands can ramble on quite garrulously - again capped with a sturdy and exhilarating fugato. In the marvelous Hungarian Fantasy as well as the far more neglected Rhapsodie Espagnole with its grand concatenation of ' Folies d'Espagne' and the even more familiar 'Jota Aragonesa,' Pierce tosses off the most difficult sounding passages with remarkable elan; yet in all the music he exhibits a welcome delicate and piquant spirit where required, presenting these quintessentially romantic pieces with sentimentality but not bathos; note for example his compelling reading of Malediction. The two well-known concertos, if Pierce fails to dislodge Richer and Kondrashin from their position of pre-eminence, its certainly not for lack of trying; indeed, he employs an even more free-wheeling, heart-on-sleeve approach here than in the other. less familiar fare. Yet, it all suits Pierce's clarion tone just fine. Perhaps, Carlton could be persuaded to bring out the remaining Liszt scores with Pierce as a well-filled and much welcome sequel."
- American Record Guide, January/February 1998

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"The North American pianist Joshua Pierce, though not so widely known in Guadalajara, Mexico as in other parts of the world, nevertheless has been repeatedly compared to the virtuosic abilities and fabulous prowess of the late legendary pianist: Vladimir Horowitz. They also share a great sense of romantic perception, sentiment, feeling and the highest level on interpretation." "Mr. Pierce is recognized as much for the traditional repertory as well as the avantgarde and in particular, his close association with the piano works of John Cage. This notable pianist has built a solid world-wide reputation playing and recording romantic repertory as well as works of the 20th Century, enabling him to be nominated for many Grammy Awards. In this album of works for piano and orchestra by Franz Liszt, one can listen to the Rhapsodie Espagnole in the arrangement by Busoni, the Malediction for piano and orchestra, the Totentanz in the version of 1849 and the Wanderer Fantasie of Schubert as arranged by Liszt, magnificently accompanied by Paul Freeman and the State Philharmonic of Moscow. Even though these highly important virtuosic and romantic works are not as generally well known as the Piano Concertos by the same composer, they are nonetheless performed with amazing skill, dexterity and musical intelligence."
- El Informidor Guadalajara, Mexico, Jan. 16, 1998

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"Mr. Pierce is at the sunrise of a brilliant career. It is seldom that one leaves a recital of this magnitude wanting to hear more because the promise is both fulfilled and yet has more to offer."
- N. Scruggs, The Independent Press, Chatham, NJ

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"A brilliant young artist!"
- Summit Independent, Summit, NY

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"Liszt's most important music for piano and orchestra is brilliantly performed by Joshua Pierce. Pierce's impetuousness and massive technique make him an ideal interpreter of this music; there are passages where his ability to clarify chords on the run illuminates Liszt's more experimental voicings that are swamped in most performances. Performance wise, the set is fully competitive."
- Turok's Choice, February, 1998

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"...performed with amazing skill, dexterity and musical intelligence."
--El lnformidor, Guadalajara, Mexico, January, 1998

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"Virtuosic pianist Joshua Pierce's performance of the Liszt Concerto No. 1 in E-flat was both fantastic and spectacular ... rich in melody and tone ... full of warmth and brilliance. In short, I cannot imagine this work being interpreted in any other way. Pierce's total understanding brings out all the unifying characteristics of this 'symphonic poem'. Pierce's fluent and musical playing successfully turns this concerto into a truly 'great work.' "
- S. Matos, El Informador, Guadalajara, Mexico, 1998

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"... powerful and virtuosic readings.... A pianist of Pierce's stature deserves to record with truly top-flight organizations."

-Turok's Choice, March, 1999

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Richard Strauss Burlesque in D minor, Op, 11:

"...a superb and mercurial performance..."
- Turok's Choice, September 1998

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"Elegantly and beautifully performed."-
Charles Shere, Oakland Tribune

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"Pierce's superb versions are played with excitement, sparkle and feeling."
- Turok's Choice, Summer 1997

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"Mr. Pierce demonstrated an outstanding technical capacity, coupled with carefully controlled dynamics and expression... beautifully phrased lines and tasteful timing. Joshua Pierce is an artist of enormous talent. His playing exudes vitality, excitement, enthusiasm, expressiveness and a total commitment to his art... a memorable evening for the most discriminating of music lovers."
- Robert Forman, San Diego Press Heritage

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"Joshua Pierce's recording of concertos by Khachaturian, Prokofieff and Shostakovich is just about the best ever, hands down. Incredible playing! Mr. Pierce leaves most pianists far behind."
- El lnformador, Guadalajara, Mexico, September, 1997

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Erik Satie Vexations:

"Joshua Pierce found a beguiling, lilting lyricism."
- Alex Roth, New York Times, March, 1993

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"When I arrived, Joshua Pierce had just begun, playing the four lines of music straight, elegantly pedaled. Pierce's lyrical phases encouraged my mind to wander, and I let it."
- Kyle Gann, Village Voice, June, 1993

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David Ward-Steinman Child's Play for bassoon and piano:

"They (Johnny Reinhard and Joshua Pierce) combined between-the-cracks intonation effects with other avant-garde devices, which made them sound thoroughly conventional."
- Allan Kozinn, New York Times, March, 1992

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"Some people describe classical music as dull, but no one who has listened to Joshua Pierce's piano could ever use that word... total mastery. His playing gives those the chance to discover what they've missed."
- Mountain Ear, NH

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"A marathon piano recital was presented by Joshua Pierce at the University of Maryland... You should have been there, it was incredible... fantastic things happening on stage. Horowitz-like technique..."
- Washington Star News

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"Mr. Pierce's performance can be rated as nothing less than electrifying and enormously gratifying... an impressive performance... in the Nine Etudes from Op. 10 by Chopin, the natural romanticism was well done, carefully calculated to draw out those characteristics by the composer most in keeping with each piece... The experience of Joshua Pierce in concert is truly magnificent... His unpretentious manner... his unique and personal interpretations and his musical mastery mark him as one of the finer young performers of the decade."
- Jim Sheridan, The Fryeburg Reporter, Maine

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"Mr. Pierce played a well planned, interesting and diverse program, from works of Mozart and Chopin to Liszt and Gottschalk. Pierce's rendition of Liszt's Hungarian Rhapsody No.6 drew wild cheers and loud clapping from the large and enthusiastic audience. It was enough to inspire or discourage any piano student. One man, one piano, nothing very complicated, but an amazing amount of great music-making and a wonderful evening."
- Sharon Ekbergh, Correspondent, Northern Lights, NH, VT, ME

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"A Sunday evening audience gave an enthusiastic reception to the US premiere of Klavierstucke fur Kinder, Op. 31, by Hanns Eisler... Another Eisler composition, Sonate fur Klavier, Op. 1,... was also included in a varied and spectacularly executed recital by the young American pianist, Joshua Pierce."
- William Fennell, The Union Leader

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"In the 'Funerailles' of Liszt and Prokofieff's 'Sonata No. 7 in B-flat, Op. 83,' Joshua Pierce again proved himself the master of musical pyrotechnics and elegant lyrical expression."
- The Independent Press

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"In the Funerailles of Liszt and Prokofieff's Sonata No. 7 in B-flat, Op. 83, Joshua Pierce again proved himself the master of musical pyrotechnics ad elegant lyrical expression."
- Chatham Courier

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"Joshua Pierce's rendition of Liszt displayed a fiery and dynamic interpretation of Romanticism in music... The left hand octaves of the 'Funerailles' and 'Dante Sonata' were played with a dynamic fluency. Mr. Pierce's performance of the Prokofieff '7th Sonata' was positively electric, vigorous and dancey in the way he was able to elicit individual voices within the complex texture of the work."
- The Reporter

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"As the Bach Sonata in D Major got things off to a brilliant start, Pierce and Stewart (violist with the New Jersey Symphony) proved to be excellent partners... Although Mr. Pierce is considered to be something of a contemporary music specialist with a multitude of recordings and a Grammy Award nomination to his credit, he proved, once again, in Paul Hindemith's Der Schwanendreher, to be the most tasteful and polished of musical partners."
- Chatham Courier, NJ

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"Mr. Pierce is a powerful keyboard artists. .... Some robust playing in the three Chopin Mazurkas"
- Jack Diether, The Villager, New York

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