Photo by Benjamin Ealovega

“... a pianist whose probing, incisive, and deeply considered performances are consistently challenging and rewarding.”

Upcoming Concerts

Calendar
BBC Symphony Orchestra, London
Jan 31
BBC Symphony Orchestra, London

Beethoven ◦ Piano Concerto No. 2 in B♭ Major

BBC Symphony Orchestra
Jakub Hrůša, conductor 

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La Folle Journée, Nantes
Feb 2
La Folle Journée, Nantes

Schubert ◦ Sonata in B♭ Major, D. 960

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La Folle Journée, Nantes
Feb 2
La Folle Journée, Nantes

Beethoven ◦ Piano Concerto No. 5 in E♭ Major, Op. 73 "Emperor"

Sinfonia Varsovia
Jesko Sirvend, conductor

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Cornell Concert Series, Ithaca
Feb 21
Cornell Concert Series, Ithaca

Schubert ◦ Sonata in c minor, D. 958
Tyson Gholston Davis ◦ …Expansions of Light
Schubert ◦ Sonata in A Major, D. 959

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Helsinki Seriös
Mar 16
Helsinki Seriös

Dvořák ◦ Piano Quartet in D Major, Op. 23
Janáček ◦ Violin Sonata
Fanny Mendelssohn Hensel ◦ Four Lieder, Op. 6, arranged for viola and piano
Brahms ◦ Piano Quartet in c minor. Op. 60

with:
Liza Ferschtman, violin
Malin Broman, viola
Antoine Lederlin, cello

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El Auditorio Nacional de Música, Madrid
Mar 20
El Auditorio Nacional de Música, Madrid

Dvořák ◦ Piano Quartet in D Major, Op. 23
Janáček ◦ Violin Sonata
Fanny Mendelssohn Hensel ◦ Four Lieder, Op. 6, arranged for viola and piano
Brahms ◦ Piano Quartet in c minor. Op. 60

with:
Liza Ferschtman, violin
Malin Broman, viola
Antoine Lederlin, cello

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Leidse Schouwburg Stadsgehoorzaal
Mar 21
Leidse Schouwburg Stadsgehoorzaal

Dvořák ◦ Piano Quartet in D Major, Op. 23
Janáček ◦ Violin Sonata
Fanny Mendelssohn Hensel ◦ Four Lieder, Op. 6, arranged for viola and piano
Brahms ◦ Piano Quartet in c minor. Op. 60

with:
Liza Ferschtman, violin
Malin Broman, viola
Antoine Lederlin, cello

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PHIL Haarlem
Mar 22
PHIL Haarlem

Dvořák ◦ Piano Quartet in D Major, Op. 23
Janáček ◦ Violin Sonata
Fanny Mendelssohn Hensel ◦ Four Lieder, Op. 6, arranged for viola and piano
Brahms ◦ Piano Quartet in c minor. Op. 60

with:
Liza Ferschtman, violin
Malin Broman, viola
Antoine Lederlin, cello

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Royal Northern College of Music, Manchester, UK
Mar 25
Royal Northern College of Music, Manchester, UK

Schubert ◦ Sonata No. 19 in c minor, D. 958
Tyshawn Sorey ◦ For Anthony Braxton
Schubert ◦ Sonata in B♭ Major, D. 960


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Jonathan Featured in New York Times Opinion Section

In his New York Times op-ed, Jonathan addresses the historic myth of the mad genius, its impact on today’s young musicians, and the relationship between music and the innermost self.

“Beethoven’s personal life may have been short on joy, but listening to Jonathan Biss leaves one feeling grateful that he was able to discover it in composing.”

Latest Instagram Posts

Performing and recording the ten (!) concertos that comprise the Beethoven/5 project with the @sverigesradiossymfoniorkester has been one of the most monumental and thrilling undertakings of my life. The musicians of the orchestra play with such spirit, commitment, and joy — I feel inspired each time. We started all the way back in 2017, with Beethoven’s first concerto and Sally Beamish’s City Stanzas, finally due to be released next month. This week, we finish with @timoandres’s The Blind Bannister and Beethoven’s Piano Concerto 2. Beethoven’s work, delightful and profound as it is, looks backward, to Mozart; its cadenza, though, looks to the future. To the Grosse Fuge, and into the infinite.
“My experience of anxiety — and of all those years of trying to hide it — was very isolating. I was so scared of it being visable and audible that I was in a crouch. But it is in fact a thing that binds us together. In the end, all you have as a musician is your ability to listen and react — to yourself, and the music, and to the musicians around you. That is your currency as a musician. So if you close yourself off, you are limiting your possibilities in a fundamental way.” I’m grateful to @fred.child and @performancetoday for giving me the opportunity to speak once again about a topic that has shaped my life. Opening up about my anxiety is among the best things I’ve ever done for myself, as a musician and as a person. Let’s continue to tear down this stigma. Hear the full interview at the link in my bio. @yourclassical @princetonuniversityconcerts
Whatever one’s beliefs, this is a glorious place to play Schubert. @festivalravel
Whatever one’s beliefs, this is a glorious place to play Schubert. @festivalravel
Caption contest? It’s wonderful to be back at @festivaldepiano_laroque for tonight’s journey into the unknown (in the guise of Schubert’s last two sonatas)🎹
Caption contest? It’s wonderful to be back at @festivaldepiano_laroque for tonight’s journey into the unknown (in the guise of Schubert’s last two sonatas)🎹
Do not despair. Act. ♥️ Pertinent links can all be found at the link in my bio.
Do not despair. Act. ♥️ Pertinent links can all be found at the link in my bio.
I like to imagine that this music — part of the third movement of the transcendental Sonata in B flat Major — is what Schubert hoped to hear after he died. This is pure speculation, of course, but coming immediately in the wake of the slow movement, a musical farewell to end all farewells, it certainly doesn’t feel as if it comes from this earth… Every experience I’ve had playing this piece has been awe-inducing in its own specific way; my next one will be tomorrow, at the @raviniafestival’s Martin Theater.
Each note of @dr.tyshawnsorey_official’s music contains both meaning and mystery. My next performance of ‘For Anthony Braxton’ is this Thursday at 7:30 at @raviniafestival’s Martin Theater. ♥️
The magnificent Grange de Meslay, where I’ll be playing Schubert’s last two sonatas tonight. It occurs to me that the room in which he wrote these pieces is smaller than the stage, much less the hall… @fmtfestivalgrange
The magnificent Grange de Meslay, where I’ll be playing Schubert’s last two sonatas tonight. It occurs to me that the room in which he wrote these pieces is smaller than the stage, much less the hall… @fmtfestivalgrange
@timoandres can take the most innocuous motive and simultaneously look at it under a microscope and through a telescope. It’s a spectacular talent, one displayed throughout his piano concerto, The Blind Banister, which I’ll be playing Thursday with the wonderful @orchestredechambredeparis and @pekkakuusistomusician. I’m so excited to be returning to the piece after a too-long hiatus from it.
I spent the last two days in Montgomery, Alabama, visiting the Equal Justice Initiative’s @legacysites. It was among the most profound, upsetting, and significant experiences of my life. The sites combine an astonishing amount of information; t
I spent the last two days in Montgomery, Alabama, visiting the Equal Justice Initiative’s @legacysites. It was among the most profound, upsetting, and significant experiences of my life. The sites combine an astonishing amount of information; the personal stories of enslaved people, victims of lynching, and the incarcerated; and numerous works of art — primarily sculpture — which reckon with these issues and honor the lives lost or destroyed. Collectively, they tell a powerful story about racial injustice and dehumanization. This story is insufficiently understood (certainly by me), dooming it to continue. The work of the @eji_org is altogether essential and inspiring, but what they have built at these Legacy Sites is, while harrowing, a gift to the nation. I usually don’t post about subjects outside of music, but these two days felt like a call to action. For anyone with the capacity to make the trip to visit these sites in Montgomery, I cannot recommend doing so highly enough; for those who can’t make the trip, the EJI’s director, Bryan Stevenson, has written a book, Just Mercy, which is also extraordinary — a distillation of a life lived in the service of others, and of the ideals on which our country was supposed to have been founded.
Performing and recording the ten (!) concertos that comprise the Beethoven/5 project with the @sverigesradiossymfoniorkester has been one of the most monumental and thrilling undertakings of my life. The musicians of the orchestra play with such spir
“My experience of anxiety — and of all those years of trying to hide it — was very isolating. I was so scared of it being visable and audible that I was in a crouch. But it is in fact a thing that binds us together. In the end, all
Whatever one’s beliefs, this is a glorious place to play Schubert. @festivalravel Caption contest? It’s wonderful to be back at @festivaldepiano_laroque for tonight’s journey into the unknown (in the guise of Schubert’s last two sonatas)🎹 Do not despair. Act. ♥️ Pertinent links can all be found at the link in my bio.
I like to imagine that this music — part of the third movement of the transcendental Sonata in B flat Major — is what Schubert hoped to hear after he died. This is pure speculation, of course, but coming immediately in the wake of the slo
Each note of @dr.tyshawnsorey_official’s music contains both meaning and mystery. My next performance of ‘For Anthony Braxton’ is this Thursday at 7:30 at @raviniafestival’s Martin Theater. ♥️
The magnificent Grange de Meslay, where I’ll be playing Schubert’s last two sonatas tonight. It occurs to me that the room in which he wrote these pieces is smaller than the stage, much less the hall… @fmtfestivalgrange
@timoandres can take the most innocuous motive and simultaneously look at it under a microscope and through a telescope. It’s a spectacular talent, one displayed throughout his piano concerto, The Blind Banister, which I’ll be playing Thu
I spent the last two days in Montgomery, Alabama, visiting the Equal Justice Initiative’s @legacysites. It was among the most profound, upsetting, and significant experiences of my life. The sites combine an astonishing amount of information; t

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