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Jeremy Denk
Jeremy Denk
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Jeremy Denk (born May 16, 1970 in Durham, North Carolina) is an American classical pianist and author of the memoir Every Good Boy Does Fine: A Love Story, in Music Lessons (2022).

Key Information

Early life

[edit]

Denk did not come from a musical family. After several years in New Jersey, his family settled in Las Cruces, New Mexico, where he grew up. He attended Oberlin College and did graduate work at Indiana University where he studied with György Sebők.[1]

Career

[edit]

Denk has been awarded a MacArthur Fellowship,[2] won the Avery Fisher Prize and Musical America's Instrumentalist of the Year award,[3] and has been elected to the American Academy of Arts and Sciences.[4]

Denk has performed throughout the US and Europe in recital and with major symphony orchestras and has toured with Academy of St Martin in the Fields.[5][6]

Denk's releases from Nonesuch Records include the opera The Classical Style with music by Haydn, Mozart, and Beethoven. He joined his long-time musical partners, Joshua Bell and Steven Isserlis, in a recording of Brahms' Trio in B-major.[7] His previous disc of the Goldberg Variations reached number one on Billboard's Classical Chart.[8]

In 2014, Denk served as music director of the Ojai Music Festival, for which, besides performing and curating, he wrote the libretto for a comic opera, The Classical Style, with music by Steven Stucky.[9] The opera was later presented by Carnegie Hall and the Aspen Festival.

Denk is known for his original and insightful writing on music, which Alex Ross praises for its "arresting sensitivity and wit."[10] His writing has appeared in The New Yorker, The New Republic, The Guardian, and on the front page of The New York Times Book Review.[11][12] His New York Times-bestselling memoir "Every Good Boy Does Fine" published by Random House in the US, and Macmillan in the UK,[13] expands on an essay first published in the New Yorker in 2013.

His original blog, Think Denk, recounts his experiences of touring, performing, and practicing, and was selected for inclusion in the Library of Congress web archives.[5][14] In 2024, he resumed his blogging on the Substack platform, entitled Denk Again.

In 2012, Denk made his Nonesuch debut with a pairing of masterpieces old and new: Beethoven's final Piano Sonata No. 32, Op. 111, and Ligeti's Études.[15] The album was named one of the best of 2012 by The New Yorker, NPR, and The Washington Post, and Denk's account of the Beethoven sonata was selected by BBC Radio 3's Building a Library as the best available version recorded on modern piano. Denk has a long-standing attachment to the music of American visionary Charles Ives, and his recording of Ives's two piano sonatas featured in many "best of the year" lists.

Denk graduated from Oberlin College, Indiana University School of Music, and the Juilliard School. He lives in New York City.[16]

In 2019, Denk released an album entitled c.1300–c.2000, of piano versions of pieces by composers from circa the years 1300 to 2000. The album was released on Nonesuch Records.[17] He discussed the work on BBC Radio 4's Front Row in March 2019.[18]

Denk made his Edinburgh International Festival debut in August 2019 with a programme of piano works by Bach, Ligeti, Liszt, Berg and Schumann.[19]

Recordings

[edit]
  • November 2002: Brahms and Dvořák Quintets, with Concertante Chamber Ensemble. Meridian Records
  • February 2003: Tobias Picker's Piano Concerto No. 2 ("Keys to the City"). Russian Philharmonic. Thomas Sanderling, conductor. Chandos Records
  • March 2007: Works for Solo Piano by Leon Kirchner. Sonata No. 2 for Piano. Albany Records
  • September 2007: John Corigliano Violin Sonata. Joshua Bell, violin. Sony Records
  • April 2009: Gabriel Fauré Violin Sonata. Chausson Concert. Soovin Kim/Jupiter String Quartet. Azica Records
  • April 2010: Johannes Brahms: Sonatas for Viola and Piano. Roberto Diaz, Viola. Naxos
  • October 2010: Jeremy Denk Plays Ives, which features Charles Ives' Piano Sonatas Nos. 1 and 2, on his Think Denk Media Label
  • October 2011: Bach Partitas 3, 4, 6. Azica Records
  • January 2012: French Impressions, including sonatas of Franck, Ravel, and Saint-Saëns with violinist Joshua Bell, Sony Classical
  • May 2012: Ligeti/Beethoven, including Books I and II of György Ligeti's piano études and Beethoven's Piano Sonata No. 32, Nonesuch Records
  • November 2012: American Mavericks, including Henry Cowell's Synchrony and Piano Concerto with Michael Tilson Thomas, SFS Media
  • September 2013: J.S. Bach: Goldberg Variations, Nonesuch Records
  • February 2019: c. 1300–c. 2000, Nonesuch Records
  • September 2021: Mozart Piano Concertos, K.503 in C Major and K.466 in D Minor with Saint Paul Chamber Orchestra, Nonesuch Records
  • August 2024: Mendelssohn Piano Trios. Joshua Bell, violin. Steven Isserlis, cello. Sony Classical
  • October 2024: IVES DENK. Stefan Jackiw, violin. Nonesuch Records

Bibliography

[edit]

References

[edit]
[edit]
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Jeremy Denk

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Jeremy Denk (born May 16, 1970, in ) is an American classical , , and educator renowned for his performances of both canonical and contemporary works, his collaborations with leading orchestras worldwide, and his acclaimed writings on music. Denk began his musical training early and pursued formal education at , where he earned a B.A. in 1990, followed by an M.Mus. from in 1993 and a D.Mus. from the in 2001. His career gained prominence through solo recitals and concerto appearances with major ensembles, including the , , San Francisco Symphony, , and , as well as frequent performances at . He is also celebrated for collaborations, such as those with violinist and cellist , and for premiering new works, including Anna Clyne's piano concerto in the 2023/24 season. Among his notable achievements, Denk received the MacArthur "Genius" Fellowship in 2013 and the Avery Fisher Prize in 2014, recognizing his artistic excellence and contributions to . He was elected to the American Academy of Arts and Sciences in 2019. As a recording artist with , his discography includes a Grammy-nominated album of Mozart piano concertos (2021), J.S. Bach's (which topped Billboard's Classical Charts), and a 2024 collection of works. Beyond performance, Denk serves on the faculties of Conservatory of Music and , and his writings—appearing in outlets like , , and —have established him as a leading commentator on musical interpretation and culture. His 2022 , Every Good Boy Does Fine: A Love Story, in Music Lessons, became a New York Times , blending personal narrative with explorations of technique and .

Early Life and Education

Childhood and Upbringing

Jeremy Denk was born on May 16, 1970, in , to non-musical parents who nonetheless fostered an environment rich in recorded music and included an upright in the family home. His early years were marked by a supportive yet challenging family dynamic, with his father pursuing a career in after earlier pursuits, including time as a Catholic , and his mother managing household demands amid personal struggles such as drinking. The family relocated to , when Denk was six, where his father's professional opportunities took root before another move at age ten to , a rural border town with a culturally diverse community influenced by its proximity to and academic institutions like , where his father became director of . Denk's initial exposure to music came through the family , where he began exploring keys informally before formal instruction. At age six, following a altercation that highlighted his emotional intensity, a teacher recommended channeling his energy into a creative outlet, leading him to request piano lessons with a local instructor in ; this marked the spark of his passion, as he quickly progressed to giving early solo recitals. The move to Las Cruces further shaped his formative environment, immersing him in a quieter, expansive setting that contrasted with suburban life and allowed space for musical immersion alongside other pursuits. Beyond music, Denk's upbringing emphasized a well-rounded development, with strong academic performance that saw him high school at age 16 with straight A's and college credits, reflecting his intellectual curiosity—he later pursued chemistry alongside music in college. He also played viola in the school , balancing artistic exploration with experiences, while navigating the social and personal challenges of in a small . This transition to more structured musical studies followed soon after the family's arrival in .

Musical Training and Influences

Denk began serious studies at around age 10 after his family moved to , where he trained under William Leland, a at . Leland's rigorous approach, which emphasized precision, metronomic accuracy, and meticulous note-keeping in a practice journal, instilled a strong foundation of discipline during Denk's formative years in . Denk pursued his undergraduate education at and Conservatory of Music, earning a double degree in performance and chemistry in 1990 while studying under Joseph Schwartz. There, he gained early exposure to by accompanying fellow students in their lessons and participating in ensembles, broadening his understanding of collaborative interpretation. For graduate studies, Denk enrolled at , where he earned a in music under the guidance of György Sebők, a renowned Hungarian and pedagogue. Sebők's teaching philosophy profoundly influenced Denk, prioritizing interpretive depth, technical finesse, and the emotional layering of phrasing in classical repertoire, as exemplified in lessons on works like Mozart's in C minor, K. 457. This mentorship shifted Denk's focus toward nuanced expression, shaping his lifelong approach to the piano. Denk completed his formal education with a Doctor of Musical Arts degree from in 2001.

Professional Career

Debuts and Early Performances

Jeremy Denk launched his professional career in the early 1990s, shortly after earning his degree from in 1993, where he studied under György Sebők. His breakthrough came that same year through recitals and increased visibility among U.S. orchestras and recital series. This success facilitated early recitals across the , including appearances in major venues that helped establish his reputation for thoughtful interpretations of the classical repertoire. In the late 1990s, Denk relocated to to immerse himself in the vibrant scene, transitioning from student performances to paid professional engagements. He freelanced with prominent ensembles, such as the , performing concertos and chamber works that showcased his versatility and precision. These opportunities, however, came amid significant challenges, as the irregular nature of freelance work often led to financial instability, requiring him to juggle multiple roles including occasional teaching to make ends meet. Denk's initial foray into international began around 2000 with European tours, where he presented solo recitals and collaborated with orchestras in cities like and . These tours marked a pivotal expansion of his career, introducing his distinctive style—blending intellectual depth with expressive warmth—to global audiences and solidifying his position as an emerging force in classical . Despite the logistical and economic hurdles of early international , these experiences built crucial momentum for his subsequent achievements.

Major Awards and Recognitions

Jeremy Denk's career received significant momentum in the early 2000s through prestigious honors that highlighted his innovative approach to piano performance. Although his early debuts laid the groundwork for broader recognition, it was mid-career accolades that solidified his status among leading American classical musicians. In 2013, Denk was awarded the MacArthur Fellowship, often called the "Genius Grant," recognizing his exceptional creativity in both piano performance and musical writing; the $625,000 no-strings-attached stipend enabled him to pursue ambitious projects blending artistry and intellectual inquiry. This honor underscored his ability to make classical music accessible and relevant to contemporary audiences, propelling invitations to high-profile festivals and collaborations. The following year, 2014, brought two major awards that further elevated his profile. Denk received the Avery Fisher Prize, a $75,000 award from honoring outstanding achievement and excellence in performance among American instrumentalists. Concurrently, Musical America named him Instrumentalist of the Year, praising his versatility and refusal to fit conventional molds in the field. These recognitions marked a pivotal trajectory shift, enhancing his opportunities for artistic direction and international touring. More recently, Denk has continued to garner critical acclaim for his recordings and broader contributions. In October 2024, Gramophone magazine selected his collaborative album with violinist Joshua Bell and cellist Steven Isserlis as an Editor's Choice, lauding its interpretive depth. Additionally, a March 2025 New Yorker profile featured Denk discussing the interplay between music and politics, highlighting his role as a thoughtful commentator on cultural issues. These honors reflect his enduring impact, bridging performance, scholarship, and public discourse.

Festival Roles and Collaborations

Denk served as the Music Director of the Ojai Music Festival in 2014, where he curated a program that blended classical masterpieces with contemporary works, including the premiere of a commissioned , The Classical Style, for which he wrote the . His innovative approach emphasized interdisciplinary elements, drawing on Haydn, , and Beethoven alongside modern commissions to explore the evolution of musical style. Throughout the and into the , Denk has maintained a long-term collaboration with the Academy of St. Martin in the Fields, appearing as soloist on multiple U.S. and European tours, including play-directing concertos and performing Beethoven and other repertoire. These partnerships have highlighted his versatility in chamber settings, with recent engagements such as a 2024-2025 tour featuring Piano Concerto No. 14. In , Denk has formed enduring partnerships with violinist and cellist , performing together in festivals and series worldwide. Their collaboration extended to the Tsindali Festival in Georgia in 2024, where they presented works by Fauré and Brahms in intimate quintet formations, with plans for continued performances in the 2024-2025 season. Denk's recent projects underscore his commitment to new music, including the world premiere of Anna Clyne's ATLAS with the Dallas Symphony Orchestra in March 2024, followed by East Coast and European performances during the 2023-2024 season. Looking ahead, he collaborates with the Orpheus Chamber Orchestra in the 2025-2026 season, performing Beethoven's in a conductorless format at venues like 92NY. A key aspect of Denk's festival and collaborative programming is his for underrepresented composers, particularly women, as demonstrated in a sold-out November 7, 2025, for the Skyline Piano Artist Series at Northwestern University's Bienen School of Music, featuring works by composers from the to the present. This focus aligns with his broader efforts to diversify repertoires in live settings, often integrating historical and contemporary voices to challenge traditional canons.

Recordings and Repertoire

Solo Recordings

Jeremy Denk's solo piano recordings, primarily released on , showcase his interpretive depth and innovative programming, often blending historical breadth with personal insight. His approach to the keyboard emphasizes clarity in polyphonic textures, a wry sense of humor in phrasing, and intellectual rigor in exploring structural and emotional layers, as evident in his renderings of Beethoven sonatas, Brahms intermezzos, and contemporary études by composers like Ligeti. In 2013, Denk released his recording of J.S. Bach's (BWV 988), a landmark in his discography that highlights his ability to infuse with modern expressivity. The album, featuring all 30 variations and the , topped the Traditional Classical Albums chart upon its debut, marking it as a commercial bestseller in the genre and underscoring Denk's broad appeal. Critics praised its poetic balance of introspection and vitality, with Denk's annotations in the providing contextual analysis of the work's "naughty, wicked, and bittersweet" elements. Denk's 2019 double album c.1300–c.2000 traces seven centuries of keyboard music evolution through solo piano transcriptions and originals, from Machaut's medieval chansons to Ligeti's avant-garde études. Spanning composers like Ockeghem, Beethoven, and , the recording was lauded for its historical scope and Denk's seamless transitions between eras, demonstrating his commitment to revealing continuities in musical expression. The album's conceptual arc, originally developed for live recitals, earned acclaim for bridging ancient and contemporary idioms with technical precision and narrative flow.

Chamber and Orchestral Recordings

Denk's chamber and orchestral recordings reflect a progression from initial freelance efforts in the late to high-profile releases on major labels after 2010, showcasing his affinity for collaborative dynamics and ensemble balance. By the 2010s, partnerships with prestigious ensembles elevated his output, including the 2021 album of Mozart's Piano Concertos Nos. 20 and 25 with the Saint Paul Chamber Orchestra on , where Denk directed from the keyboard and emphasized the orchestra's transparent interplay with the solo line. In chamber music, Denk has forged enduring collaborations that underscore romantic intimacy and precise ensemble cohesion. A landmark example is the 2024 release of Mendelssohn's Piano Trios Opp. 49 and 66 on , performed with violinist and cellist —longtime partners spanning decades—who together capture the works' lyrical warmth and structural elegance. Critics praised the trio's seamless blend, noting Denk's supportive piano role that amplifies the strings' expressive dialogue without overpowering it. This recording earned a for the 2025 Gramophone Award in the Chamber category, affirming its impact on the genre. Marking the 150th anniversary of Charles Ives's birth in 2024, Denk's album Ives Denk on features the composer's four violin sonatas performed with violinist Stefan Jackiw. These sonatas exemplify Denk's affinity for American maverick music, with his interpretations capturing Ives's experimental harmonies and folk-infused rhythms through lucid articulation and playful dynamics. The liner notes, penned by Denk, offer educational annotations on Ives's innovative style, humor, and cultural resonance, positioning the works as touchstones of 20th-century chamber literature. Recent orchestral projects extend Denk's commitment to contemporary repertoire, including the world premiere of Anna Clyne's ATLAS in March 2024 with the Dallas Symphony Orchestra under Fabio Luisi. The work, inspired by a four-volume publication on global soundscapes, integrates with orchestral forces in four movements that evoke shifting moods and cultural layers, with Denk's lauded for its rhythmic vitality and textural sensitivity. These endeavors contrast his solo recordings by prioritizing interactive energy, where Denk's pianism adapts fluidly to contexts, fostering innovative interpretations of both classical and modern scores.

Writings and Creative Works

Books and Memoirs

Jeremy Denk's primary contribution to literary works is his 2022 memoir, Every Good Boy Does Fine: A Love Story, in Music Lessons, published by Random House. The book interweaves Denk's experiences learning the piano with reflections on personal development, framing classical music as a lens for understanding life's complexities. It became a New York Times bestseller, lauded for its insightful blend of musical analysis and autobiographical narrative. Structured around three core musical concepts—harmony, melody, and rhythm—the memoir is divided into sections that correspond to phases of Denk's education and growth: his pre-college years under initial teachers, his undergraduate time at , and his advanced studies with György Sebők in Bloomington and at Juilliard. Within this framework, Denk presents eight interconnected lessons on technique, emotional expression, and existential insights, drawn from pivotal moments in his career, such as grappling with Beethoven sonatas and collaborations. These lessons avoid a linear , instead emphasizing how repetitive practice and interpretive challenges mirror broader human struggles like and resilience. Critics praised the book for its wit, accessibility, and ability to demystify for non-specialists while offering profound revelations for musicians. described it as a "virtuosic " that elegantly balances technical discussions with a , free of writing's typical pretensions. Similarly, * highlighted its "lucid, bittersweet" prose and counterpoint-like interplay of music and life, noting how Denk's frankness about artistic and personal awakenings elevates the narrative. An edition, narrated by Denk himself, further enhances its intimacy, running over 13 hours and capturing his characteristic humor and precision.

Articles, Essays, and Blogging

Jeremy Denk has contributed essays and articles to prominent publications such as and since 2010, often exploring themes like performance anxiety and interpretations of composers' works. In a 2013 piece titled "Every Good Boy Does Fine," he reflects on the psychological pressures of training and the influence of his early teachers in shaping his approach to . His writings in these outlets have delved into the emotional and technical challenges of performance, as well as nuanced analyses of composers ranging from Bach to contemporary figures. For instance, Denk has examined how anxiety manifests in rehearsal processes and , drawing from personal experiences to illuminate broader issues in practice. Denk's original blog, , active from the 2000s through the 2010s, offered candid, humorous insights into the daily life of a concert pianist, including satirical takes on practice routines and the absurdities of touring. The blog captured the "glamorous life and thoughts of a concert pianist," blending wit with reflections on technical drills and performance mishaps. It was selected for inclusion in the Web Archives, preserving its role as a digital chronicle of the profession's behind-the-scenes realities. In 2024, Denk resumed blogging on under the title Denk Again, reviving his voice to address intersections of alongside classical topics. Posts have explored how political events, such as the 2024 U.S. election, resonate with works by composers like Fauré and Haydn, emphasizing themes of pleasure, opposition, and in art. This platform ties into his 2025 New Yorker feature on music's relationship to American divisions, where he recommended readings bridging political tension and musical narrative. Among Denk's key essays are discussions of Bach's profound influence on harmonic innovation and its implications for pianists today, as well as explorations of modern that emphasize adaptive teaching over rigid methods. In reflections on Bach's Well-Tempered Clavier, he highlights how the composer's structures reveal possibilities in harmony and emotional depth, informing contemporary interpretations. His essays on advocate for lessons that integrate failure and , echoing themes from his formative experiences without extending into full narratives. Through these writings, Denk has cultivated a dedicated readership extending beyond concert audiences, fostering greater public engagement with classical music's intellectual and social dimensions. His essays and blogs have been credited with deepening appreciation for the field's complexities, as noted in his 2013 MacArthur Fellowship citation for engaging readers in musical intellect.

Libretti and Other Contributions

In 2014, Jeremy Denk authored the for the comic The Classical Style: An Opera (of Sorts), composed by Steven Stucky and inspired by Charles Rosen's seminal book The Classical Style. The work humorously dramatizes the stylistic innovations of Haydn, , and Beethoven through a fictional setting, blending musical parody with intellectual discourse. It premiered at the Ojai on June 13, 2014, under Denk's artistic direction, marking a significant foray into collaborative operatic writing. As music director of the 2014 Ojai Music Festival, Denk curated a program that integrated elements, including lectures, panel discussions, and live to explore classical music's . Highlights featured "Ojai Talks" sessions on topics like the opera's implications, combining verbal analysis with onstage demonstrations by performers such as violinist Jennifer Frautschi. This approach fostered an immersive environment, encouraging audiences to engage with music through narrative and visual contexts beyond traditional concerts. Denk has contributed to educational initiatives by authoring detailed for recordings, such as those for the 2024 Nonesuch album Ives Denk, which pairs him with violinist Stefan Jackiw in Charles Ives's four violin sonatas. In these , he elucidates Ives's innovative American idiom, describing the composer's "optimistic but always messy" vision and its structural complexities, providing listeners with contextual insights into the works' historical and emotional layers. Released to mark Ives's 150th birth anniversary, the annotations enhance accessibility for broader audiences. Denk has pursued experimental projects that fuse writing with musical performance, notably through live commentary during concerts to illuminate interpretive choices. For instance, in festival settings like Ojai, he has delivered onstage narrations that interweave personal reflections with real-time , bridging the gap between performer and audience. These integrations draw from his broader practice of using to deepen musical engagement, as seen in hybrid events where spoken elements accompany piano improvisations or pieces. In 2025, Denk has actively discussed programming underrepresented composers, emphasizing female voices in his recitals to address historical imbalances in the canon. At a sold-out concert on November 7, 2025, kicking off Northwestern University's Skyline Piano Artist Series, he performed works by composers like , Hélène de Montgeroult, and alongside Brahms, highlighting their technical and emotional depth. Similarly, a January 10, 2025 recital at The Conrad Prebys Center featured women composers from the 19th to 21st centuries, such as , , and , underscoring Denk's commitment to diversifying concert repertoires through thoughtful curation.

References

  1. https://www.barbican.org.uk/sites/default/files/documents/2017-10/Jeremy%2520Denk%2520for%2520web.pdf
  2. https://www.jeremydenk.com/bio
  3. https://www.macfound.org/fellows/class-of-2013/jeremy-denk
  4. https://www.nytimes.com/by/jeremy-denk
  5. https://www.nytimes.com/2014/03/18/arts/music/pianist-jeremy-denk-to-receive-avery-fisher-prize.html
  6. https://www.nytimes.com/2022/03/24/books/review/every-good-boy-does-fine-jeremy-denk.html
  7. https://www.ojaifestival.org/jeremy-denk/
  8. https://www.latimes.com/entertainment/arts/la-et-cm-ca-jeremy-denk-ojai-20140601-story.html
  9. https://www.sfcv.org/articles/artist-spotlight/jeremy-denk-captures-wonder
  10. https://www.kirkusreviews.com/book-reviews/jeremy-denk/every-good-boy-does-fine-denk/
  11. https://www.newyorker.com/magazine/2013/04/08/every-good-boy-does-fine
  12. https://classicalvoiceamerica.org/2022/12/22/pianists-autobiography-mirrors-his-playing-perceptive-refreshing/
  13. https://www2.oberlin.edu/nyc2013tour/press/JeremyDenkBio.pdf
  14. https://www.oberlin.edu/news/time-traveling-jeremy-denk
  15. https://www.bard.edu/news/releases/pr/fstory.php?id=11117
  16. https://www.npr.org/2022/03/21/1087834268/for-classical-pianist-jeremy-denk-life-is-like-a-series-of-music-lessons
  17. https://www.jeremydenk.com/
  18. https://www.npr.org/sections/therecord/2013/09/25/226069307/vijay-iyer-jeremy-denk-win-macarthur-genius-grants
  19. https://www.wqxr.org/story/jeremy-denk-wins-avery-fisher-prize
  20. https://www.musicalamerica.com/features/?fid=195&fyear=2014
  21. https://www.oberlin.edu/news/jeremy-denk-earns-avery-fisher-prize-orchestra-appointment
  22. https://www.gramophone.co.uk/features/article/editor-s-choice-october-2024-the-best-new-classical-recordings
  23. https://www.newyorker.com/books/book-currents/jeremy-denks-musical-account-of-american-divisions
  24. https://www.ojaifestival.org/wp-content/uploads/2013/12/2014_Ojai_Music_Festival_Announcement_120613-1.pdf
  25. https://www.nonesuch.com/journal/ojai-ojai-north-music-festival-schedules-jeremy-denk-music-director-2014-01-22
  26. https://www.asmf.org/whats-on/jeremy-denk-usa/
  27. https://mechanicshall.org/event/academy-of-saint-martin-in-the-fields-jeremy-denk-piano/
  28. https://santafechambermusic.org/project/jeremy-denk/
  29. https://tsinandalifestival.ge/event/sep-2-day-3-2024-1200/
  30. https://www.boosey.com/cr/news/Clyne-Turns-to-Art-for-New-Piano-Concerto/102388
  31. https://orpheusnyc.org/tickets-and-concerts/jeremy-denk-at-92ny
  32. https://dailynorthwestern.com/2025/11/09/lateststories/jeremy-denk-highlights-female-composers-to-kick-off-sold-out-skyline-piano-artist-series/
  33. https://www.music.northwestern.edu/events/jeremy-denk-piano
  34. https://www.jeremydenk.com/press-acclaim
  35. https://bachtrack.com/review-university-maryland-jeremy-denk
  36. https://www.nonesuch.com/journal/jeremy-denk-bach-goldberg-variations-1-billboard-classical-chart-2013-10-28
  37. https://www.billboard.com/charts/traditional-classic-albums/2013-11-30
  38. https://www.npr.org/sections/deceptivecadence/2013/11/17/245450017/the-biggest-jazz-riff-ever-written-jeremy-denks-goldberg-variations
  39. https://www.nonesuch.com/albums/c-1300-c-2000
  40. https://www.npr.org/2019/01/31/689515328/first-listen-jeremy-denk-c-1300-c-2000
  41. https://theclassicreview.com/album-reviews/album-review-c-1300-c-2000-jeremy-denk-piano/
  42. https://www.nonesuch.com/journal/jeremy-denks-mozart-piano-concertos-recorded-saint-paul-chamber-orchestra-out-now-nonesuch-2021-09-17
  43. https://www.gramophone.co.uk/features/article/gramophone-awards-shortlist-2025-chamber-category
  44. https://www.prestomusic.com/classical/products/9663095--mendelssohn-piano-trios
  45. https://www.nonesuch.com/albums/ives-denk
  46. https://www.nonesuch.com/journal/jeremy-denk-ives-denk-out-now-nonesuch-celebration-ives-sesquicentennial-2024-10-18
  47. https://www.boosey.com/cr/music/Anna-Clyne-ATLAS/111485
  48. https://www.dmagazine.com/arts-entertainment/2024/04/genre-hopping-composer-anna-clyne-levels-up-with-a-major-dallas-premiere/
  49. https://www.penguinrandomhouse.com/books/234672/every-good-boy-does-fine-by-jeremy-denk/
  50. https://www.jeremydenk.com/book
  51. https://pianoinspires.com/book-review-every-good-boy-does-fine-by-jeremy-denk/
  52. https://www.theguardian.com/books/2022/may/19/every-good-boy-does-fine-by-jeremy-denk-review-a-virtuosic-memoir
  53. https://www.audible.com/pd/Every-Good-Boy-Does-Fine-Audiobook/0593557476
  54. https://www.ojaifestival.org/theclassicalstyle/
  55. https://www.ojaifestival.org/wp-content/uploads/2014/07/2014-Selections-of-Memorable-Moments.pdf
  56. https://www.youtube.com/watch?v=KPiZINvpyn4
  57. https://timesofsandiego.com/arts/2025/01/11/review-women-composers-get-their-due-in-jeremy-denks-inspired-conrad-recital/
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