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"Pianist Jenny Lin gave a recital…that was as thoughtfully conceived as it was beautifully executed. …" —The Washington Post

Jenny Lin, piano

The Composer-Pianists: The Art of Transcriptions and Arrangements
BACH / BUSONI: Chaconne in D minor, BWV 1004
LISZT: Rigoletto: paraphrase de concert (after Verdi)
STRAVINSKY / AGOSTI: L’Oiseau de feu 
RODGERS / HOUGH: “Hello, Young Lovers”
RODGERS / HOUGH: “My Favorite Things”
LOEWE / MAZEW: Eliza in Ascot
GERSHWIN / WILD: “Embraceable You”
GERSHWIN / WILD: “I Got Rhythm”
BERLIN / HYMAN: “Blue Skies”

This performance includes selections from the new CD from Steinway & Sons, Jenny Lin - Stravinsky, available on Feb 25. The artist will sign CDs after the performance.

The concert is approximately 1 hour and 20 minutes.


  92Y Concerts at SubCulture is a co-presentation of 92Y and SubCulture.

This concert takes place in SubCulture, 45 Bleecker St.

Video & Audio

Jenny Lin's YouTube Channel

Jenny Lin performing Earl Wild’s arrangement of Gershwin’s “Fascinatin’ Rhythm” at St. John the Evangelist in Oxford, UK for their e-Christmas Card

Jenny Lin performing medley of songs from her Get Happy CD, including several that will be performed at SubCulture, on Kansas Public Radio, Nov 14, 2012

Jenny Lin on growing up in Vienna, and what makes a successful live performance.

Jenny Lin, piano

RODGERS / HOUGH: “My Favorite Things”
From Get Happy (Steinway & Sons)

On the Blog

(Click the names below to expand info.)

From New York Pianist

Interview with Jenny Lin, following the release of her InsomniMania CD, July 29, 2008. Here’s an excerpt:

I ask myself all the time, what am I doing that makes a difference? What do you have to do to make it interesting enough that people actually care, that makes a difference in the context of history? What do I need to do to make sure that what I’m doing stays and changes something? That’s hard. Maybe it makes my programming more interesting.

Click here to read the full interview.

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Interview/review by John Stark,” Pianist Jenny Lin’s New CD Takes a Classical Approach to Show Tunes,” Nov 20, 2912. Here is an excerpt:

Tell me about the arrangers and their arrangements.

The fact is I needed the arrangements to be by performing pianists. There are thousands of arrangements of these tunes. But very few are by pianists, especially classical or jazz pianists who have notated them."

When I started the project I used arrangements that existed from the past. As I went along I started to realize that I should include some of the great pianists we have today who are also amazing composers. All the arrangers of the pieces on this album are actively performing pianists, or were when they were alive.

Did you tell the pianists you contacted what songs you wanted?

No, these are great pianists. I was not going to dictate what they should do. I pretty much gave them carte blanche. They chose the songs they wanted to arrange. I got back exactly what I needed.

Click here to read the full article.

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Explore the Music

(Click the names below to expand info.)

Notes on the Program

by David N. Lewis

The act of transplanting music to the keyboard from another medium is older than even the piano itself. Transcriptions of vocal or lute music account for more than half of all the Western keyboard music we have from the beginning of the Renaissance period through about the middle of the Baroque.

When the piano arrived, however—with its rich tone, harmonic capability, the effect of pedaling and the increased velocity of its players over time—different kinds of transcriptions were needed. Rather than simply moving the notes of an opera aria, symphony, song or other work to the keyboard, more interventionist strategies were employed. Paraphrases of the key themes of an opera, highly decorated versions of songs and even piano transcriptions of whole symphonies were well a part of the musical landscape by 1850. Franz Liszt was a principal player in this endeavor, but there were many others, even some musicians—principally concert artists—whose only creative pursuit was in making piano transcriptions of non-original works.

So while the “art” of transcription may be to some extent received, as it involves transforming music that already exists, it is the transformative effect of it that makes it an “Art” rather than mere artisanship; there are so many different ways to do it, and depending on how far one goes it could wander into territory so creative that it essentially becomes an original work. Jenny Lin's 92Y Concerts at Subculture program, “The Composer-Pianists: The Art of Transcription and Arrangements,” approaches this large body of work from two different angles: works chosen from the mainstream classical tradition as reinvigorated by later musical minds; and numbers from The Great American Songbook as re-imagined by virtuosi in other disciplines. Pianist-composer Percy Grainger was a great admirer of Gershwin and arranged several of his works— including a Fantasy on Porgy and Bess for piano 4-hands—starting in the mid-1940s. Thus began the tradition of concert virtuosi adapting tunes from The Great American Songbook into material suitable for performance in the concert halls of the world.

Many works heard in tonight's program can be found in Ms. Linn’s recent recordings. Her disc of Stravinsky solo piano works, released today, and on sale at tonight’s concert, includes Guido Agosti’s arrangement of L’Oiseau de feu, and her previous recording, Get Happy, features many of tonight’s Songbook arrangements.

© 2014 David N. Lewis

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Artist Bio

Jenny Lin

Jenny Lin is admired for her charismatic stage presence and adventurous programming, with an ability to combine classical and contemporary literature. Her orchestral engagements have taken her around the world appearing with the American Symphony, Chamber Orchestra of Philadelphia, Winnipeg Symphony, La Orquesta Sinfónica de Gijón in Spain, Flemish Radio Orchestra, SWR Rundfunkorchester in Germany, Orchestra Sinfonica Nationale della RAI in Italy, and National Symphony Orchestra of Taiwan.

In New York Ms. Lin has performed at Carnegie Hall, Avery Fisher Hall, Miller Theatre, MoMA, Whitney Museum and Le Poisson Rouge. Her festival appearances have taken her to Lincoln Center’s Mostly Mozart, BAM’s Next Wave, Spoleto/ USA, Kings Place in London, the Divonne Festival in France, the Chopin Festival in Austria, the Schleswig-Holstein Festival and Husum Piano Rarities Festival in Germany and the Shanghai New Music Festival in China.

Ms. Lin’s extensive discography includes more than 20 critically-acclaimed recordings on Steinway & Sons, Hänssler Classic, eOne, BIS, Albany and Sunrise Records. She released a disc of Stravinsky solo piano works today, including Agosti’s rarely-recorded arrangement of the Firebird Suite. Her previous recording is Get Happy, an album of Broadway song arrangements by pianists including Stephen Hough, Marc-André Hamelin and Christopher O’Riley. Her disc of Shostakovich’s 24 Preludes and Fugues, Op. 87, was voted Best of 2009 by The Washington Post. Other highly-praised releases include Federico Mompou’s Musica Callada; The 11th Finger, a disc of recent piano works by Ligeti, Tenney, Vivier and others; and the world premiere recording of Drama by Valentin Silvestrov.

Ms. Lin is the central figure in Cooking for Jenny by Elemental Films, a musical documentary portraying her journey to Spain to meet composer Javier López de Guereña in preparation of the world premiere of his piano concerto Zahara. She is also one of the featured artists on Speaking for Myself, a film by Bert Shapiro about Manhattan, as seen through the eyes of eight contemporary artists.

Born in Taiwan and raised in Austria, Ms. Lin studied at the Hochschule für Musik in Vienna, the Peabody Conservatory in Baltimore and the Fondazione Internazionale per il pianoforte in Como, Italy. She holds a bachelor’s degree in German literature from The Johns Hopkins University. She currently serves on the faculty of 92nd Street Y. Her website is

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