Haochen is honored to fill in for Lang Lang at Carnegie Hall next month on October 30. He will be playing the Chinese classic, Yellow River Concerto, with the China NCPA Orchestra led by Lü Jia.
Read more here.
Haochen returns to the Santa Fe Chamber Music Festival this early August for four performances within four short days. His final performance with the festival culminates with Bach's 5th Keyboard Concerto on August 5.
Just a few days later, Haochen continues chamber concerts across the country in Maine at the Bay Chamber Concerts August 10 and 11, joining violinist Benjamin Beilman.
Haochen will soon be heading to Colorado for his debut at the popular Bravo! Vail Music Festival on July 9. He will play the more rarely-heard Rachmaninoff concerto No. 4 with Philadelphia Orchestra led by Stéphane Denève
Read more about the festival here.
As a 2017 recipient of the Avery Fisher Career Grant, Haochen was honored to be featured by WNET's NYC Arts program discussing his thoughts on music. You can watch the video here.
Peter Dobrin commends Haochen's performances at the Rachmaninoff Festival in Philadelphia this past weekend, writing "The Curtis-trained Zhang had the harder assignment with the two more rare concertos, the first and fourth, and he proved a pianist with an ear for introspection and a range of colors. In the fourth concerto, which is less emotionally direct than the other concertos, Zhang ventured some dramatically convincing opinions."
To read the full Philadelphia Inquirer article, click here.
Rating the album four stars, The Guardian, writes "Haochen Zhang is both a prodigiously award-winning pianist and a self-confessed introvert, and the wide-ranging choice of repertoire on his first studio disc reflects this. He captures the childish, quickly dissipating seriousness of Schumann’s Kinderszenen, and plays it with the kind of artistry that sounds sincerely artless.
Liszt’s Ballade No 2 has Zhang creating great rumbling waves in the left hand, then closing in an atmosphere of hard-won peace. In this, and in Janáček’s Sonata 1 X 1905, he excels in conveying the larger shape of the piece, knitting the phrases together into long paragraphs, yet he doesn’t short-change the showier passages. Brahms’s Three Intermezzos, Op 117, make for an understated close to an intimate, inward-looking disc, and their feeling of slow rise and fall evokes the breathing of a huge creature asleep. Rarely on this recording does his playing make a forceful bid for the attention, but it certainly rewards close listening."
See the review on The Guardian's site here.