Pianist Conor Hanick is regarded as one of his generation’s most inquisitive interpreters of music old and new. With a unique adeptness for contemporary music reinforced by a commitment to music of all ages, Hanick’s interpretations demonstrate a “technical refinement, color, crispness and wondrous variety of articulation that benefit works by any master.” (Anthony Tommasini, New York Times)

Although his playing “defies human description” for some (Concerto Net), Hanick’s performances have received wide acclaim, described as “brilliant,” “effortlessly elegant,” (New York Times) “expert,” (Philadelphia Inquirer), “sparkling,” (Strad) and reminding the New York Times Anthony Tommasini of a “young Peter Serkin.” He has performed with conductors Alan Gilbert, James Levine, David Robertson, Pierre Boulez, James Conlon, Anne Manson, Carlos Izcaray, Jeffrey Milarsky, and others, in repertoire ranging from Beethoven’s Emperor Concerto and the keyboard concertos of Johann Sebastian Bach to Olivier Messiaen’s Des Canyons aux Etoiles… and John Adams’ Century Rolls. As a recitalist and chamber musician, Hanick has performed at the Kennedy Center, Mondavi Performing Arts Center, the Krannert Center, the Kultur und Kongresszentrum Luzern, Kyoto Concert Hall, the Dewan Pilharmonik Peronas in Malaysia, and virtually every prominent arts venue in New York City, ranging from (le) Poisson Rouge and The Kitchen to Alice Tully Hall and all three halls of Carnegie Hall. 

To say that he had Cage’s canny music [Sonatas and Interludes] under his fingers is a serious understatement. I cannot remember another recent account of such suavity and grace, nor one that balanced Cage’s opposing impulses — clean notes and altered tones, Western modes and Eastern evocations, rigor and dreaminess, grandeur and eccentricity — more effectively. Mr. Hanick’s interpretation brimmed with virtuosity, focus and imagination; I hope he records it.
— Steve Smith, The New York Times

As a fierce advocate for the music of today, Hanick has premiered over 200 works and collaborated with composers both emerging and iconic. Among the them, Hanick has worked with Pierre Boulez, Matthias Pintscher, Milton Babbitt, Heinz Holliger, John Luther Adams, and Charles Wuorinen, in addition to championing music by leading composers of his own generation, including David Fulmer, Caroline Shaw, Matthew Aucoin, Samuel Adams, Vivian Fung, and Christopher Cerrone. The “soloist of choice for such thorny works” (New York Times), Hanick recently performed Milton Babbitt’s Piano Concerto No. 2 with the Juilliard Orchestra at Alice Tully Hall; György Ligeti’s Piano Concerto with Alan Gilbert at the New York Philharmonic Biennale; Pierre Boulez’s sur Incises with James Levine at Carnegie Hall; and the world premiere of Matthew Aucoin’s Piano Concerto with the Alabama Symphony. He is currently working with composer Matthew Aucoin on a new solo piano work; Nina Young, David Hertzberg, and Marcos Balter on three works for cello and piano; Chris Cerrone on a piano concerto for prepared piano and percussion; and Samuel Carl Adams on an evening-length work for piano and electronics.

During the 18-19 season, Hanick appears as a soloist, chamber musician, and ensemble member throughout North America. He presents Frederic Rzewski’s The People United Will Never Be Defeated in Santa Barbara, Seattle, Santa Fe, New York, and Boston; partners with instrumentalists Jay Campbell, Joshua Roman, Augustin Hadelich, Rachel Lee Priday, and others, in music ranging from Eric Wubbels’ Gretchen am Spinnrade to gamba sonatas of Carl Phillipp Emanual Bach; joins the Seattle Symhony in Pierre Boulez’s sur Incises, the String Orchestra of Brooklyn in Galina Ustvolskaya’s Piano Concerto; and is artist-in-residence at the University of Iowa Center for New Music, the Clark Museum, and SITE Santa Fe. As a core member of the American Modern Opera Company (AMOC), Hanick will present The People United with a new lighting installation by John Torres, perform in a new semi-staged version of John Adams’ El Niño at the Metropolitan Museum of Art; and chamber music programs at the American Repertory Theater in Cambridge, MA and National Sawdust in Brooklyn, NY.

Complementing his solo and chamber music work, Hanick also works closely as an ensemble member with many new music groups and chamber orchestras. He has performed with The Knights at Tanglewood, the Kennedy Center, and on tour with Bela Fleck; the International Contemporary Ensemble (ICE) at the Park Avenue Armory in Heiner Goebbels’ De Materie; the Talea Ensemble in the US premiere of Mauricio Kagel’s Sur Scene; and in collaboration with the Metropolitan Opera Chamber Players, Chatter Ensemble, ensembleNewSRQ, Alarm Will Sound, Ensemble Echappé, Talea Ensemble, Argento, and the Lucerne Festival Alumni Ensemble. 

A sought after pedagog, Hanick has given lectures and masterclasses at The Juilliard School, the New England Conservatory, the University of Massachusetts Amherst, the University of Iowa, and, from 2011-2013, was the Iva Dee Hiatt visiting artist at Smith College. In 2014, Hanick became a solo piano faculty artist at Music Academy of the West, an elite summer festival in Santa Barbara, and holds the Jane and Jerry Rocco Chair in Solo Piano.

Hanick completed his undergraduate studies at Northwestern and received his Masters and Doctorate from The Juilliard School, where he studied with Yoheved Kaplinsky and Matti Raekallio. He is a Yamaha Artist and lives in the Bushwick neighborhood of Brooklyn, New York.


Here are some photos of me aging.



TL;DR Version

  • Member of AMOC - the American Modern Opera Company - in addition to Ensemble Echappé and The Knights. Frequent guest with the International Contemporary Ensemble (ICE) and Talea Ensemble.

  • Current commissioning projects include solo piano works by Eric Wubbels, David Fulmer, Samuel Adams; duo works for cello and piano by David Hertzberg, Marcos Balter, Nina Young; more

  • Faculty Artist at The Music Academy of the West and previous Iva Dee Haitt resident artist at Smith College

  • Graduate of Northwestern University and The Juilliard School, where teachers included Alan Chow, Yoheved Kaplinsky, and Matti Raekallio.

  • Yamaha Artist

  • Performed at virtually every prominent venue in New York City, including all three halls of Carnegie Hall, Alice Tully Hall, the Metropolitan Museum of Art, (le) Poisson Rouge, and The Kitchen.

  • Premiered over 200 new works, including over a dozen personally dedicated solo piano works

  • Performed with conductors Alan Gilbert, James Levine, Pierre Boulez, David Robertson, Jeffrey Milarsky, Carlos Izcaray, and Alan Pierson in works ranging from György Ligeti's Piano Concerto, to Brahms First Concerto in D minor, opus 15

  • Collaborations in 18-19 include Augustin Hadelich, Joshua Roman, Jay Campbell, the Seattle Symphony, String Orchestra of Brooklyn.


Photo Credits: 1, 2 - Jonathan Waiter; 3, 4 - Joshua Wool; 5, 6 - Lauren Desberg