“None of that quite came close, though, to the spell cast by the pianist Conor Hanick in a complete account of John Cage’s ‘Sonatas and Interludes’ at The Ex [of The American Repertory Theater in Boston], probably the best instrumental concert I’ve seen all year by virtue of its rethinking of the basics of what a recital might be. Performing with his back to an audience seated in an arc around him, Mr. Hanick’s playing was breathtaking, at once penetrating and mystifying.” — David Allan, The New York Times
“This was a riveting performance of [Olivier Messiaen’s Couleurs de la Cité Céleste with the AXIOM Ensemble], especially by the brilliant pianist Conor Hanick, who reminders me of a young Peter Serkin.”
“During the concert [at the Kennedy Center] by these two brilliant young musicians a sparking galvanic arc between cello and piano was all but visible. …[Cellist Jay Campbell] and Hanick suggested a conversation in such complete sympathy and accord that they could almost complete each other’s sentences. …The hand-in-glove ensemble was nothing short of breathtaking.” — Patrick Rucker, The Washington Post
”Pianist Conor Hanick gave a smooth and fluent performance [of Matthew Aucoin’s Piano Concerto with the Alabama Symphony Orchestra] that never lost its control, even in passages that seemed straight out of Ligeti’s hellish piano etudes. More impressive, he made disjunct textures in the first movement comprehensible to anyone in the audience, connecting sonorities across the whole range of the keyboard carefully and intuitively.” — Edward Forstman, Arts BHAM
“[Conor Hanick’s account of John Cage’s Sonatas and Interludes] was a marvel in poetic concentration. …To say that he had Cage’s canny music 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…more effectively. Mr. Hanick’s interpretation brimmed with virtuosity, focus and imagination; I hope he records it.”
Still, describing the brilliant Mr. Hanick as a contemporary-music champion can suggest that he is a specialist rather than a connected young artists with a natural curiosity about new music. Besides, during a typical season Mr. Hanick plays Mozart, Schumann, Debussy and such. The technical refinement, color, crispness and wondrous variety of articulation he brought to the contemporary fare played on this occasion would benefit works by any master. — Anthony Tommasini, The New York Times
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