After studies with Carolyn Savko, Dr. Carol Leone at Southern Methodist University in Dallas, Texas, and Marc Durand at l’Université de Montréal, Jonathan Tsay is now a doctor.
But not the kind that could help if someone had some sort of emergency on the plane (...unless it involved someone really wanting to listen to live classical music and there was a grand piano on board).
Since 2004, Dr. Tsay has been a regular artist for Musical Awakenings, a series of educational concerts presented by the Van Cliburn Foundation. He has appeared with several orchestras and performed solo and chamber music recitals in lots of places that he won't specify here, but assures you are all very important and impressive.
More importantly, however, he aims to show that classical music has a place in the realm of the everyguy/everygal, and does not require a knowledge of the mystical and esoteric to appreciate on a profound level.
Jonathan’s performances can also be found on the interwebs on the Youtube, and on the companion CD to "Brahms - A Listener's Guide: Unlocking the Masters Series," published by Amadeus Press and available on Amazon.com.
The book's author, pianist and critic John Bell Young, has these kind words about Jonathan's pianism:
"Every now and then, if all too infrequently, an artist emerges whose communicative powers are so vivid and compelling as to sweep listeners off their feet. Jonathan Tsay, a pianist whose larger-than-life musical temperament, interpretive probity, and communicative gifts are as charismatic and authentic as it gets, is just such an artist.
I have rarely if ever been so consistently impressed by any pianist, as his playing has everything: passion, poetry, warmth, intensity, fantasy, imagination, color, effortless lyricism, and an unerring intelligence that never fails to move and stimulate us.
Tsay's music making is of the highest order, at once spontaneous and free, though no less emotionally honest and disciplined in every category: technical, interpretive, and textual. The young Tsay is an heir to the artistic legacy of Schnabel, Michelangeli, and Cortot, but also to the suave musical agenda of von Karajan, Carlos Kleiber, and van Beinum; indeed, his approach is nothing if not conductorial, and in his hands, the piano blossoms into the most luxurious orchestra. Such comprehensive mastery and rigorous integrity, so wholly absent of any gimmickry or public relations ploys that would dare to promote it, is special enough nowadays, to speak of nothing of affecting for its sincerity and largesse.
That said, Jonathan Tsay is the genuine article, whose name and playing deserve a place of esteem in the hearts and libraries of music lovers everywhere. I cannot recommend him highly enough."