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- John Sharpe, The New York City Jazz Record, August, 2013 Read Full Review
Things picked up again with the cheerfully postmodern “If We Live in Forgetfulness, We Die in a Dream,” a recent work by Jason Hwang. Its connection with Buddhism was maybe more theoretical than musical, but it was a warm, human, richly melodic work with all the finely tuned eclecticism we’ve come to expect from Hwang (who brought his extraordinary “Burning Bridge” suite to the Freer two years ago).
Stephen Brookes, The Washington Post, November 9, 2012 Read Full Review
The Strad, August, 2011 Read Full Review
In a class of its own, with a sound like no other group in the festival, was the Fifty Violins in dedication to the much lamented Leroy Jenkins, led and conducted by Billy Bang and coordinated by Jason Kao Hwang.
- Marc Medwin, All About Jazz, August 12, 2007 Read Full Review
This memorial piece was an extraordinary work that was coordinated by Jason Hwang and led by Billy Bang. The music was breathtaking, beautiful, dream-like.
- Bruce Gallanter, Downtwn Music Gallery Newsletter, November 30, 1999 Read Full Review
..the soaring lyricism of Jason Kao Hwang.
- Chicago Tribune, Howard Reich, October 11, 2005 Read Full Review
The most remarkable work on the program was Bending Duration, Breathing Distance by Jason Kao Hwang, the only composer of the five who was not born in China.
- Olin Chism, Voicesofchange.com, April 24, 2001 Read Full Review
Jason Hwang's music was an evocation of colors and emotions in a wide spectrum from tenderness to the volatile, piecing fragments, creating dances, in a dazzling, poetic way.
- CODA Magazine, 1988 Read Full Review
Jason Hwang's …Glass Shadows creates music that is taut, delicate and highly original.
- Jon Pareles, The New York Times, January 2, 1986 Read Full Review
- Julie Semkow, Library Journal, January 1996 Read Full Review