Ran Dank, pianist


Ran Dank, pianist
Photo credit: Janette Beckman
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"A strong player with technique and imagination"
~ The New York Times

"Dank played with impeccable technical surety…explosive force and triumphant exultation."
~ The Washington Post

"The leap from Bach to Ives is huge, but Mr. Dank accomplished it deftly."
~ The New York Times

“He didn‘t merely perform a rhapsodic program of Beethoven, Chopin and Liszt; he attacked it, displaying confidence, a deep understanding of the repertoire and a relaxed demeanor that helped focus attention on the music and enabled him to play incredibly difficult pieces.“   - Beethoven, Chopin and Liszt at College of Charleston‘s Piano Series, THE POST AND COURIER, October 1, 2014

“Mr. Dank played brilliantly, giving a muscular and virtuosic performance that highlighted the varied sonic palette of the piece, with its Brahmsian sweep, fiendish octaves and serial techniques.“   - Ursula Oppen‘s 70th Birthday Celebration at Symphony Space, THE NEW YORK TIMES, March 11, 2014

“Dank offered a confident and rich performance. The complex, yet flowing lines were interspersed with robust tutti sections, aggressive punctuations giving way to deft, elegant ornaments, earning spontaneous applause from the audience...“   - Chopin Piano Concerto No. 2 w/ Kansas City Symphony, KANSAS CITY STAR, November 30, 2013

“It was charming to see this couple on the verge of matrimony playing these sweet, wistful and charming waltzes with such sensitivity and taste.“   - Duo recital w/ Kate Lee, Le Poisson Rouge, THE NEW YORK TIMES, September 4, 2013

“... bringing out all manner of subtle effects never heard in the orchestral version. Even the brutality was more brutal, as the sudden sforzandos and dissonances stood out more than they do in the orchestral version.“   - Duo recital w/ Kate Lee, Portland Ovations, PORTLAND PRESS HERALD, November 2, 2012

“For all the intriguing themes and appealing ambience I may remember this concert most for a feat of old-fashioned derring-do by the Israeli pianist Ran Dank. The pianist Katsura Tanikawa, who was to have played Ravel’s Trio in A minor with the brilliant violinist Augustin Hadelich and Mr. Coppey, pulled out of the festival for what were called personal reasons. Mr. Masur contacted Mr. Dank, who had just returned from Israel, was still jet-lagged and had not played the Ravel work for two years (as I learned by speaking with him afterward). The piano part of this trio is notoriously difficult. Mr. Dank had about five hours to prepare and spent some of that time sleeping. Still, he gave a go-for-broke performance that seemed to inspire Mr. Hadelich and Mr. Coppey. Occasional rough patches hardly undermined the sweep and fire of Mr. Dank’s playing. This is what you call professionalism. “   - Chelsea Music Festival, THE NEW YORK TIMES, June 12, 2012

“Dank played with impeccable technical surety, a point made by a boisterous performance of Liszt‘s “Réminiscences de Norma“ transcription, a piece hardly worth the trouble of busting one‘s chops to play it. Miles of gauzy scales, dizzying double octaves, and fluttering repeated-note chords -- Dank conquered them all, rendering some of Bellini‘s vocal flourishes with a bravura more pianistic than bel canto. Schumann‘s Piano Sonata No. 3 required almost as much technical pizazz but was more profound, with Dank mastering the work‘s shifting moods -- chirping dotted rhythms, moments of rhapsody, explosive force and triumphant exultation.“   - "Pianist Ran Dank Dazzles at The Kennedy Center" Charles T. Downey, The Washington Post, October 18, 2010

“Mr. Dank is a strong player with the technique and imagination demanded by his wide-ranging program, which ran from a stylishly transparent account of Bach’s French Suite No. 2 in C minor (BWV 813) to assertive, sharp-edged and overtly virtuosic performances of Scriabin and Bartok sonatas. Mr. Dank’s Bach, which opened the program, immediately revealed a fascination with textural clarity that turned out to be a consistent hallmark of his style. Ornaments were crisply articulated and contrapuntal lines were strikingly independent and gracefully turned.“    - "Wide-ranging Program for Prizewinning Pianist", Allan Kozinn, The New York Times, December 16, 2009