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BIOGRAPHY

An exclusive Decca artist, Behzod Abduraimov’s captivating performances are rapidly establishing him as one of the forerunners of his generation.

Conductor collaborations include Vladimir Ashkenazy, Valery Gergiev, Krzysztof Urbański, Vasily Petrenko, Charles Dutoit, Vladimir Jurowski, David Zinman, Andrey Boreyko and Pinchas Zuckerman.

In spring 2014 Abduraimov makes his debut with the Boston Symphony Orchestra under Charles Dutoit which will be followed by a high profile tour of China. Elsewhere in North America he will return to the Kansas City Symphony and the Vancouver Recital Series and makes debut appearances with the Princeton University series and Phillips Collection Washington DC. He has recently worked with the Indianapolis and Atlanta Symphony Orchestras and NAC Orchestra Ottawa (as part of their Russian Festival) and appeared at the Ravinia Festival.

In Europe Behzod Abduraimov will be Artist in Residence with the Netherlands Philharmonic Orchestra (Marc Albrecht) and will also be working with orchestras such as Czech Philharmonic, London Philharmonic and Mariinsky orchestras. Following his triumphant debut at the Wigmore Hall in London, Abduraimov will be making regular appearances there over the coming seasons, he returns to Milan’s La Societa dei Concerti, where he will open their season, and makes his debuts at the Louvre Paris, Piano aux Jacobins and the Mariinsky Theatre in addition to a number of recitals in Italy and Spain.

Behzod Abduraimov will be returning to Japan for his debut with the NHK Symphony Orchestra having made his Japanese debut in 2012 with the Tokyo Symphony Orchestra. Following his highly successful tour of Australia he will return there in 2014.

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REVIEWS

“He can thunder, but he played Tchaikovsky's fast and furious passages not like a challenge but an almost serene joy. He is a pleasure to hear.” (Mark Swed, Los Angeles Times, July 2014)  

"He played with impressive poise and immediacy, navigating the quiet passage work of Rachmaninoff’s much-loved Rhapsody with a certain feline grace but also displaying an unforced strength sufficient to project boldly above the orchestra when necessary. He is a talent to watch." (Jeremy Eichler, The Boston Globe, April 2014)

“[In] his reading of Schubert’s G-flat Impromptu … [Abduraimov] managed to enclose all the coiled force of his power and talent within a glass bubble, holding it suspended on the crest of a wave of power without dislodging or breaking it… It’s rather exceptional to encounter a young whiz-bang virtuoso and feel that his strongest suit is Schubert. I’m not sure I could give higher praise. Keep your ear on this one.” (Anne Midgette, The Washington Post, December 2013)

“[Abduraimov’s] recital at the Queen Elizabeth Hall was the venue’s best of the year. This young Uzbek, who burst on the scene when he won the London International Piano Competition, seems equal to any challenge.” (Michael Church, International Piano, March/April 2013)

“Abduraimov delivers a perfect legato touch. Shimmeringly decorative up-and-down-scale figurations adorn tuneful melodies, all nicely nuanced, sparkling with energy, drive and verve.” (Tom Aldridge, NUVO (Indianapolis), March 2013)

“Youth exploded as sheer genius in the form of the Tashkent-born (1990) Behzod Abduraimov’s recent appearance here [International Piano Series, Southbank Centre, London]. While the lyric line of his Schubert Sonata in A, D664, was effortless and consummate, his Beethoven Appassionata Sonata was so vehemently expressive that he seemed to be taking music off the very edges of the keyboard, himself nearly falling from his seat. He impressed, too, with ultra-virtuosic Liszt in the second half. But spontaneity, not “cleverness”, was the dominant note.” (Paul Driver, The Sunday Times, December 2012)

"His Danse Macabre sends chills down the spine, and the Mephisto Waltz is utterly engaging, presented with rock-solid technique. Similarly, Prokofiev’s Piano Sonata No 6 and Liszt’s Bénédiction de Dieu dans la solitude reveal Abduraimov’s intellectual curiosity and an artistry that can only blossom.” (International Piano Magazine, September 2012)

“He has the neuro-motor responses of a jungle cat and the energy reserves of an Olympic athlete on peak form…It is easy to imagine how thrilling the Prokofiev Third Concerto, with which Abduraimov won his First Prize in the 2009 London International Competition, must have been...Abduraimov’s Danse macabre glitters like a diamond: clean, pristine and capable of cutting through glass. (International Record Review, September 2012)

"...a light, transparent touch and immaculately controlled pyrotechnics...La benediction de Dieu is conceived with such refined attention to pace and detail that the poetry is fully released, with the sound possessing a silky sheen; the Mephisto Waltz is a reminder of the high-octane virtuosity which brought him to international attention in the first place.” (BBC Music Magazine, August 2012)

“Here is a good-themed programme from this 20-year-old Uzbek newcomer of ‘demonic dances, God and war, combining technical virtuosity with music fireworks’ … he’s a new face on the scene with bags of talent whose future will be well worth following.” (Jeremy Nicholas, Gramophone, August 2012)

“His debut disc naturally includes plenty that shows off his virtuosity, but music of greater emotional complexity lies at the heart of his programme. Prokofiev’s Sixth Sonata, a complex mix of mood, has kaleidoscopic colour, fierce intensity and, notably in that aching slow-movement waltz, genuine soul.” (The Sunday Times, July 2012)

"Abduraimov is a young master, that is clear...[the disc features] some of the most limpid piano playing these ears have recently heard...The cavernous roar from Abduraimov’s Steinway beggars belief at some points...[he delivers] Liszt’s Mephisto Waltz No 1 in another tumultuous performance. For someone still so young, Abduraimov commands both registers with awesome ease. There’s a big natural talent at work here." (The Times, June 2012)

“His Danse Macabre has a neurotic, sinister air...and he tackles Prokofiev's Piano Sonata No 6 with both youthful eagerness and maturity. That maturity is even more evident in Liszt's reflective Bénédiction de Dieu dans la Solitude, whose subtle shifts of timing and emphasis he negotiates with apparently effortless command.” (The Independent, June 2012)

“Two years ago, the London press went as far as comparing Abduraimov with the legendary Vladimir Horowitz and putting him near the head of the queue to make Lang Lang’s pedestal wobble. Abduraimov’s performance of the Liszt/Horowitz arrangement of Saint-Saens’ Danse Macabre substantiated their meaning: the technical challenges were met with jaw-dropping ease, a complete absence of shallow showmanship and a masterly control of the dynamics...” (South China Morning Post, March 2012) 

“Abduraimov showed fearless athleticism matched with pearly articulacy. Abduraimov effortlessly nourished the mood and length of Liszt’s Benediction de Dieu dans la Solitude while stressed on the tonal beauty of the piece, totally spell-binding. Liszt’s Mephisto Waltz No. 1 was equally stunning with scrupulous timing, nicely judged rubato and thoughtful poetry. Age 21 or not, this recital was an outstanding Hong Kong debut!” (Time Out Hong Kong, March 2012)

"Just 21, Abduraimov played with the authority and insight of an arrived master, informing everything with extraordinary tonal beauty and expressiveness...concertgoers on Friday could not contain themselves after the first movement. Even conductor Alexander Lazarev joined in the spontaneous eruption of applause for Abduraimov." (The West Australian, March 2012)