“In solo pianist Joseph Vasconi’s hands, Messiaen’s Catalogue d’oiseaux, No. 3: “Le Merle Bleu,” raised the decibel ante as he depicted the composer’s vision … Vasconi took flight in swoops and fluttering arcs as he evoked the danger of the cliffs, calls of the birds, and the even the odors of the shore. After the Blue Rock Thrush expired, the crowd erupted in the most vociferous tribute of the night.”
— Lee Eiseman, April 11, 2024
“David Fulmer’s Only in darkness is thy shadow clear, the most recent work on offer, and a Tanglewood/Callithumpian Consort co-commission, showed a gestural and composite-chord side to this type of microtonal composition. Duo-pianists Joseph Vasconi and Kexin Tian had to synchronize with each other due to the relative lack of consistent pulse. They did excellently at that, as we heard minimal tearing between the two parts; they let the instruments growl in their lower registers until they shone in the upper.”
— Ian Wiese, March 31, 2024
“More convincing was the night’s account of Ligeti’s Chamber Concerto… [The] thirteen players offered a reading that was warm and fluent… the squawking attacks at the climax of the third movement were thrillingly on-point, as were the finale’s wild piano and double-bass solos.
— Jonathan Blumhofer, November 14, 2023
“Ligeti’s folkish songs Négy lakodalmi tanc introduced the composer’s happier, Romanian side. With Lorelei’s prompting and Joseph Vasconi’s robust piano accompaniment the feel of a village scene came about.”
— David Patterson, November 13, 2023
“Joseph Vasconi played [Andile Khumalo’s Schau-fe[r]n-ster II] with adroit facility and a depth of understanding that belied his student status at Tanglewood.”
— Christian Carey, August 8, 2023
“The “extra” work on the program was Bartók’s Contrasts for violin, clarinet, and piano … The performers—Marissa Weston, violin; Alisha Zamore, clarinet; and Joseph Vasconi, piano—gave it a vivid, tasty reading.”
— Steven Ledbetter, August 6, 2023
“[Amy Beach] Dreaming, Op. 15, No. 3 (1892), an intimate nocturne-like work interpreted with sensitivity and a vibrant dynamic palette by Joseph Vasconi”
— Roberto Poli, February 25, 2022