Adam TendlerNew York, NY
A 2019 recipient of the Lincoln Center Award for Emerging Artists, Adam Tendler has been called a “remarkable and insightful musician…who made his piano sound like its legs were nowhere near the ground” by the LA Times, “a virtuoso pianist” by The Village Voice “musical mastermind” by the Houston Press, a “probing and persuasive…quietly charismatic… intrepid… outstanding… maverick pianist” by The New Yorker, a “modern-music evangelist” by Time Out New York, and a pianist “with a showman’s knack” (San Francisco Chronicle) who “has managed to get behind and underneath the notes, living inside the music and making poetic sense of it all,” by The Baltimore Sun, who continued, “if they gave medals for musical bravery, dexterity and perseverance, Adam Tendler would earn them all.” New York Times critic Anthony Tommasini reported that Tendler played an outdoor performance of John Cage’s music “captivatingly,” and that “the wondrously subdued sounds silenced many, who listened closely even as street bustle and chirping birds blended in.”London critic Frances Wilson described Tendler’s memorized performance of Morton Feldman’s Palais de Mari at London’s St. John’s Smith Square as “a concentrated listening experience…meditative, intense and beautifully poised.” The Herald-Tribune Sarasota wrote, “By performing [John Cage’s] Sonatas and Interludes not only from memory, but in a darkened room, no light on the piano at all, he played with a natural authority demanding his audience to turn inward and tune in only to the music.” And the new music blog, “i care if you listen,” described Tendler’s recent performance at The Kitchen in New York City as “virtuosic… eerie… agonizing… distressing.” Tendler’s album, Robert Palmer: Piano Music was released by New World Records in April 2019, and he published his second book, tidepools, in December 2018.
National Sawdust: Digital Discovery Festival
A lockdown performance of Tendler’s own Texas Letters (2017) and Philip Glass’s How Now (1968). Texas Letters (2017) is a structured, chance-determined improvisation centering on an unsent letter Tendler wrote to his first boyfriend in the days after their breakup. This is its first incarnation as a solo, and first performance in a major public forum. The program will close with one of Philip Glass’s earliest, seldom performed experiments in large-scale process music, the breathless and electrifying How Now (1968).
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Adam Tendler Interviewed by Brett Banducci on Classical Chops
Brett Branducci and Adam Tendler talk life, love, sex, career, and John Cage in this candid and revealing interview from Banducci’s acclaimed podcast, Classical Chops. More at www.classicalchops.org/podcast
HATE SPEECH for audience cell phones and piano
HATE SPEECH is a protest piece dedicated to the memory of Matthew Shepard, with whispered words culled from a Tea Party politician’s Facebook page. In this performance, Adam Tendler performs live at Roulette (Brooklyn, NY) on 3/17/13.
Pianist Adam Tendler spent more than a decade researching the life and work of Robert Palmer and made an album of his music "when no one asked for it. But...