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Behzod Abduraimov
Katie Cardell-Oliver
Anna Ustynyuk
“Behzod Abduraimov has the magic touch”
The Times
Behzod Abduraimov’s performances combine an immense depth of musicality with phenomenal technique and breath-taking delicacy. He performs with renowned orchestras worldwide including Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris, Concertgebouworkest, Czech Philharmonic, Vienna Symphony Orchestra, NHK Symphony and Rundfunk-Sinfonieorchester Berlin (RSB) with prestigious conductors such as, Santtu-Matias Rouvali, Gustavo Dudamel, Semyon Bychkov, Gianandrea Noseda, Juraj Valčuha, Vasily Petrenko and Constantinos Carydis.
2023/24 performances include Chicago Symphony, Mozarteumorchester Salzburg, Houston Symphony and Pittsburgh Symphony Orchestras, Oslo Philharmonic, Stavanger Symphony Orchestra including a tour of Spain and Belgian National Orchestra performing at the Concertgebouw, Amsterdam. Behzod will also appear with Adelaide Symphony Orchestra and Sydney Symphony Orchestra. Conductor collaborations include Osmo Vänskä, Juraj Valčuha, Constantinos Carydis, Robin Ticciati, Manfred Honeck, Yoel Levi, Han-Na Chang, Hannu Lintu and Andris Poga.
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In recital Behzod has appeared a number of times at Carnegie Hall’s Stern Auditorium, Queen Elizabeth Hall in London and Amsterdam’s Concertgebouw, and has recently been presented by Alte Oper, Frankfurt, Toppan Hall, Tokyo, Teatro alla Scala and La Società dei Concerti di Milano. In 2023/24 Behzod appears twice at Carnegie Hall – returning to the Stern Auditorium for solo recital, followed by a duo recital with Daniel Lozakovich at the Weill Auditorium. The duo presents recitals elsewhere in North America including Bing Hall, Stanford, and the Vancouver Recital series. Behzod also performs in recital at the Seoul Arts Centre, Shanghai Concert Hall, Amare Hall, Hague and the Tuesday Evening Concert Series, Charlottesville.
Regular festival appearances include Aspen, Verbier, Rheingau, La Roque Antheron, Lucerne and Ravello festivals.
Behzod’s second recording for Alpha Classics, featuring works by Ravel, Prokofiev, and Uzbek composer Dilorom Saidaminova, was released on 12 January 2024. The album was Gramophone’ Editor’s Choice in January 2024, and was included in Apple Music ‘10 Classical Albums You Must Hear This Month’ of February 2024.2021 saw the highly successful release of his first recital album for Alpha Classics based on a programme of Miniatures including Mussorgsky’s Pictures at an Exhibition. In 2020 recordings included Rachmaninov’s Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra under James Gaffigan, recorded on Rachmaninov’s own piano from Villa Senar for Sony Classical and Rachmaninov’s Piano Concerto No.3 with Concertgebouworkest, for the RCO live label. Both recordings were nominated for the 2020 Opus Klassik awards in multiple categories. A DVD of his BBC Proms debut in 2016 with Münchner Philharmoniker was released in 2018. His 2012 debut CD of Liszt, Saint-Saëns and Prokofiev for Decca won the Choc de Classica and Diapason Découverte, and his first concerto disc for the label featured Prokofiev’s Piano Concerto No.3 and Tchaikovsky’s Concerto No.1.
Born in Tashkent, Uzbekistan, in 1990, Behzod began the piano aged five as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent. In 2009, he won first prize at the London International Piano Competition with Prokofiev’s Piano Concerto No.3. He studied with Stanislav Ioudenitch at the International Center for Music at Park University, Missouri, where he is Artist-in-Residence.
HarrisonParrott represents Behzod Abduraimov for worldwide general management.
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“Throughout this release, one consistently gets caught up in Abduraimov’s gorgeous and focused sonority, his rock-solid rhythm, his boundless portfolio of shadings and nuances, plus a specificity of articulation that conveys a sense of air between the notes and the utmost in characterisation.”
“His account of Prokofiev’s Romeo and Juliet suite affords further evidence that he is one of the world’s most accomplished poets of the keyboard.”
“What is most striking throughout Abduraimov’s performance is the extraordinarily varied range of colours that he elicits from his instrument.”
“Abduraimov seemed to savour its ever-changing atmosphere, engaging seamlessly with the orchestra, drawing his own marvellous details from the low end and inviting ample silence and space into his solos.”
“…. we were held spellbound by the sublime pianism of Behzod Abduraimov in Beethoven’s First Piano Concerto. He coaxed sound of gossamer beauty from the keys and created shimmering halos around the notes. And, oh, his scales, each one a perfectly formed thing. No wonder the conductor Thomas Dausgaard turned to watch in the cadenzas, intent as any Prommer. This was Beethoven with character, elegance and wit.”
“Abduraimov possesses a fine technique and it always seemed to be at the service of the music. Everything about his interpretation was balanced between dynamism and subtlety. He was particularly fine in the glories of the slow movement, finding a new colour in every phrase.”
“He has a superlative technique – the first movement especially is spilling with virtuosic runs, arpeggios and grace notes – but he allies this with both intelligent musicianship and a ‘star-quality’ flair which here made (Beethoven Piano Concerto No.1) seem fresh and bold, but never bombastic. Abduraimov’s performance was a model of clarity and effortless dexterity”
“This is a performance to set alongside the finest, urgently involving, yet also opening up on gorgeous vistas of sound. … That gift for pacing is key to the success of a grippingly powerful performance of Mussorgsky’s Pictures at an Exhibition. Throughout the work, Abduraimov invests the instrument with a stupendous range of sonorities that leaves one wondering why anyone would want to hear Pictures in through any other medium.”
“Abduraimov summons near-orchestral weight from his Steinway. … more than any other pianist I’ve heard in recent years, Abduraimov shows us not just the picture itself but also the viewer’s shifting response as he stands before it.”
“The Uzbek remains much more reflective and thinks wistfully and truly maestoso of the heroes who are honoured here, before staging the grandeur that Mussorgsky prescribed, not without producing something like a shudder at the end.”
“Abduraimov’s programme seems designed to display the Tashkent-born pianist’s versatility. Ringing, generously pedalled sounds, rich in harmonics, and a fleetness and precision of execution characterise his account of Mussorgsky’s Pictures at an Exhibition.”
“There are many talented pianists, but the Uzbek-born, American-educated Behzod Abduraimov is a piano technician at a level you rarely meet. This 30-year-old musician is simply a sublime piano player.”
“Behzod Abduraimov paints these paintings, …, like the different elements of a fascinating fresco, whose timbres, colours, rhythmic discipline and impulses serve this masterful score with indisputable maturity.”
“This is a pianist with an abundance of ‘style and idea’: both virtuoso command and individuality of voice. Abduraimov’s visionary interpretation is on a par with the very finest. His secret ingredient is an acute awareness of orchestral colours … and an ability constantly to vary timbre and texture without damaging the natural flow. All in all, a serious candidate for a benchmark recording, capping a most distinguished recital.”
“With glowing tone, this was playing sensitively scaled and shaped, with the subtlest touches of magic at just the right moments.”
“Played on Rachmaninov’s own piano, this is a sizzling account from the top drawer, superbly recorded and accompanied.” Review of recording of Rachmaninov’s Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra under James Gaffigan (Sony Classical)
“Rachmaninov’s piano – a fascinating draw in itself – and Behzod Abduraimov’s style make for a stunning performance.”
[..] Rachmaninov’s own piano [..] which, when handled as intelligently as here by the young Uzbek-born Behzod Abduraimov, allows for more subtle dialogue with the orchestral lines. This is in many ways the performance’s USP. But hear, too, how finely “Abduraimov points the references to the ‘Dies irae’ chant in the inner voices, leading up to its final crushing appearance – just one highlight among many. Nor is there any lack of power or acrobatic fluency when called for.”
“He possesses a spectacular technique, but more impressive than that is his musicality. The powerful finale, tackled with virtuosity to spare, was electrifying [..] the audience rose with a roar.”
“If his artistic growth thus far is anything to go by, we are dealing here with a rare and enchanting musician.”
“Abduraimov gave a superb account, ardent but never stretching the musical lien too far.”
“After the concise introduction by the horn, the accomplished soloist created his part with such controlled virtuosity and genuine musicality that I was amazed. [..] The solo cadenzas sparkled in compelling brilliance, deliberately served with glittering arabesques in breath-taking finesse.”
“On Saturday, the 28-year-old Uzbek pianist Behzod Abduraimov gave a stunning performance of the (Liszt) sonata at the 92nd Street Y. With prodigious technique and rhapsodic flair, Mr. Abduraimov dispatched the work’s challenges, including burst upon burst of arm-blurring octaves, with eerie command.”
“The chemistry between soloist and orchestra in the Rachmaninoff was unmistakable. Dudamel’s tempos seemed comfortable and natural, generating the right amount of harmonic tension and contoured to highlight Abduraimov’s considerable technique, lyrical gifts and finely judged musicality. […] His encore, Liszt’s “La Campanella” étude, with its chiming chords, finger-busting repeated notes and dazzling upper register passages, felt like another shot of adrenaline. Someone needs to book him at Disney Hall for a recital.”- Rachmaninov’s Concerto for Piano No.2 with Los Angeles Philharmonic and Gustavo Dudamel at Hollywood Bowl
“Much the most rewarding piece of the evening was Prokofiev’s 3rd Piano Concerto. Under the sensitive hands of pianist Behzod Abduraimov, it took on an unusual delicate colouring, the virtuoso high jinks thrown off with balletic grace rather than ostentatious force.”
“He has technique in spades, playing close to the keys without the need for extravagant gesture, applied at the service of musical sensitivity and sensibility, with an attention to detail and emotional engagement that made the Prokofiev piece sparkle.”
“His delicate playing captivates immediately and Abduraimov’s technical security is growing so rapidly that it is soon breath-taking. That’s the sound of a great virtuoso.”
“He has the ability to justify experiments and risks, and the results were compelling. […]Abduraimov is something of a piano whisperer, an approach that worked wonders with Liszt’s transcription of the ‘Liebestod’, which in his caressing performance, full of shimmering tremolandos and voice-leading of inimitable delicacy, transcended its orchestral origin as surely as Isolde’s love transcended Tristan’s death. […] His velocity is fearless, secure and stupendously even, but it was the moments when he led the music into the furthest recesses of romantic isolation – to the extent that you wondered if it would ever find its way out – that you got the measure of a musician fully equipped with an imagination synchronised with the composer’s astounding harmonic, thematic and spiritual plan.”
“The pianist Behzod Abduraimov played with vim and wit, identifying precisely the Beethovenian bite in Shostakovich’s score, its melancholy and deadpan humour.”
“The diagnosis is clear: pianist Abduraimov can do anything. The Uzbek pianist Behzod Abduraimov made two dream debuts in Amsterdam this week. His secret: authenticity, control and a velvet pianissimo.”
“The technique of the pianist was brilliant in Rachmaninov’s Piano Concerto No. 3, his tone clear and sustaining. He positively sings on the piano.”
“Not very many pianists have chosen the tougher cadenza. The mighty Horowitz didn’t. Even Rachmaninoff himself didn’t in his 1939 – 40 recording. Abduraimov did, plunging in with a smashing, unified account full of fire that also left room for subtle touches and finally the most delicate of arpeggios. Abduraimov triumphed again”
“Pianist Behzod Abduraimov, gave a high-octane performance on his Cleveland Orchestra debut that infused the well-known score with all kinds of fresh life and energy. On technical terms alone, Abduraimov’s reading was a knockout. But it was on expressive terms that Abduraimov shone brightest. In the second movement, his steely, swift fingers made dashing work of the Prestissimo but also deferred to a tender, smooth personality one could have attended for ages.”
“At 26, he is the most perfectly accomplished pianist of his generation.”
“From the initial call to arms, through supple lyrical passages and contrasting massive sound-walls of contrapuntal dissonance, Abduraimov outlined this work’s path with bravado and intelligence: one of the year’s most memorable performances.”
“After delivering strikingly clear-toned pianism in the concerto, Abduraimov displayed amazing delicacy as well as formidable virtuosity in the Paganini-Liszt La Campanella”