Key Pianists Concert Series was conceived by pianist Terry Eder in 2015 to fill a void in New York concert life: "Many wonderful pianists playing with wisdom, insight, sensitivity and beauty are not heard in New York. These stellar artists, as well as New York audiences, deserve an event to share this extraordinary music-making." This new concert series presents pianists in repertoire of special significance to them.

The series will embark on its fourth season with a recital by Norman Krieger, who “owns a world of technique” (Los Angeles Times), on Wednesday evening, October 17, 2018 at 8 pm at Carnegie Hall’s Weill Recital Hall. His program will include Brahms’ Sonata in C Major and Beethoven’s Sonata in D minor, as well as works by Chopin, Lazaroff, and Fine. On Tuesday evening, February 26, 2019 at 8 pm, pianist Jason Hardink—dubbed “a pianist of such extraordinary power–and memory–that he is difficult to forget” by ConcertoNet’s Harry Rolnick (14 Dec 2015)—will give a recital of 19th- and 20th-century gems by Eckardt, Debussy, Liszt, Xenakis, and Messiaen. To close out the season, series founder Terry Eder, noted for her “fascinating [performances] full of life and risk” (New York Concert Review, Summer 2006),  will perform the Schubert’s Impromptu in F Minor, Op. 142, No. 1 and Beethoven Piano Sonata No. 28, as well as works by Debussy and Kodály, Monday evening, April 8, 2019 at 8 pm.

During the 2017-18 season, Key Pianists presented brilliant virtuoso Cecile Licad, hailed by The New Yorker as “a pianist’s pianist,” who began her piano studies at the extremely early age of three years.  Ms. Licad’s recital included works of Elie Siegmeister, Edward MacDowell, and the towering Liszt B Minor Sonata. Of the performance, George Grella of New York Classical Review wrote:

Licad’s pianism was excellent throughout, but it was the sense that this music mattered to her that was most striking; there was a little sense of personal urgency to the audience that was quite moving.
Why else would a musician perform? Cynics might answer, “for the money,” but the point of Key Pianists is that the musicians are performing because that’s what they do and who they are. They breathe life into art and share it with the listener (January 19, 2018).

The series continued with renowned pianist Misha Dichter performing two Études by Scriabin and Schubert’s Sonata in A; and as a duo piano team with pianist Cipa Dichter, versions of Schubert’s Fantasie in F Minor and Copland’s El Salon México.

In 2016-17, Key Pianists also received unanimous critical praise. The first concert of the season featured pianist Ann Schein, who New York Classical Review’s Eric Simpson praised Ms. Schein’s playing in the following terms: “Best of all was the closing item, Chopin’s Sonata No. 3 in B Minor. There was almost a Beethovenian confidence in Schein’s approach to the music, as she combined a firm attack with splendid, singing melody. […] In the trio she made the instrument glow. The Largo showed a strong affinity for the quiet intensity of Chopinian bliss, sublime and rolling.” After the second recital of the season featuring series founder Terry Eder, Frank Daykin of New York Concert Review praised Ms. Eder as “a musician’s musician” and wrote that “Ms. Eder, who is the generous patron of, and visionary behind, the Key Pianists series, showed us why she is herself ‘key.’” The season concluded with performance by internationally renowned pianist Sara Davis Buechner, a multifaceted recital of Japanese and French music in collaboration with mime dancer and Japanese mask maker Yayoi Hirano. Of Ms. Buechner’s performance, The New York Times’ Corinna da Fonseca-Wollheim stated, “It showcased the breadth of Ms. Buechner’s artistry, spanning thundering fortissimos and chiseled passagework, as well as lyrical moments colored by a poetic sensitivity that was tempered by wit and judicious restraint” (June 2, 2017).

The first season in 2015-16 featured three recitals by celebrated pianist Peter Takács. His series, “The Beethoven Experience,” explored some of the composer’s most influential works from his early, middle, and late career. The first recital in the series earned Mr. Takács praise from noted music critic George Grella of New York Classical Review: “Takács led the music brilliantly…fluid and supremely elegant…sensitive and agile” (October 19, 2015).