Behzod Abduraimov is one of the most brilliant pianists of his generation, an artist whose name resonates confidently on the world’s leading stages and in the pages of the most respected music publications. Born on September 11, 1990, in Tashkent, he grew up in a family where music was an integral part of daily life. His first piano lessons came from his mother, a professional pedagogue. From an early age, Abduraimov demonstrated extraordinary talent and musical intuition, which he further developed at the Uspensky Music School and later under the guidance of Stanislav Ioudenitch — one of the most influential pedagogues of our time. Abduraimov studied at the International Center for Music at Park University in Missouri, where he now serves as artist-in-residence.
A turning point in his career came in 2009, when, at just 18 years old, he won the London International Piano Competition with a gripping and technically masterful performance of Prokofiev’s Third Piano Concerto. The British press described his playing as “a powerful emotional and intellectual experience,” emphasizing his rare combination of passion and discipline.
Since then, Abduraimov has become a sought-after guest at the world’s most prestigious venues. He has performed solo and with orchestra at Carnegie Hall in New York (where he gave his solo debut in the Stern Auditorium in 2016), the BBC Proms in London, the Concertgebouw in Amsterdam, Walt Disney Concert Hall in Los Angeles, Théâtre des Champs-Élysées in Paris, the Berlin Philharmonie, the Prinzregententheater in Munich, and others. He is a frequent guest at major international festivals, including the Verbier Festival, Aspen Music Festival, Ravinia, Vail and more. He has collaborated with leading orchestras such as the Boston Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Leipzig Gewandhaus Orchestra, NHK Symphony Orchestra, Orchestre de Paris, as well as the symphonic ensembles of Seattle, Zurich, Sydney, and Budapest. Conductors he has worked with include Vladimir Ashkenazy, Manfred Honeck, James Gaffigan, Charles Dutoit, Vasily Petrenko, Andrey Boreyko, Lawrence Foster, Marek Janowski, Daniel Harding, and Michael Sanderling.
His repertoire is impressively broad — spanning from the virtuosic works of Liszt, Rachmaninov, and Prokofiev to the subtle and poetic worlds of Debussy, Schubert, and Mussorgsky. Abduraimov’s interpretations are marked by immaculate technique, deep musicality, and a distinct artistic voice. His debut album, released on Decca Classics in 2012 and featuring works by Prokofiev, Liszt, and Saint-Saëns, earned him the Choc de Classica and Diapason Découverte awards, along with wide international acclaim. Subsequent recordings, including solo albums featuring works by Rachmaninov and Mussorgsky, have been equally praised. In 2024, he released Shadows of My Ancestors on Alpha Classics — a program exploring spiritual and historical themes through works by Balakirev, Tchaikovsky, Borodin, Debussy, and Prokofiev. The album was selected by Gramophone as one of the season’s top releases and included in Apple Music’s “10 Must-Hear Classical Albums” list.
The world press consistently celebrates his artistry: The Independent hails him as “the most perfectly accomplished pianist of his generation” while Opera Today describes him as “a virtuoso whose technique is of a level rarely encountered.” Los Angeles Times marvels at his touch and color: “He seems to conjure color from the air.” Despite a demanding international schedule, Abduraimov remains deeply committed to education, regularly giving masterclasses and supporting young musicians.
Today, Behzod Abduraimov is a defining voice of his generation in the world of classical piano — an artist in whom Eastern depth, Western tradition, and a universal scale of talent are uniquely and powerfully united.
Concert program:
JOHANNES BRAHMS: Vier Klavierstücke, Op. 119
CARL CZERNY: Variations on a theme by Rode, Op. 33
FRANZ LISZT: Après une Lecture du Dante (Fantasia quasi Sonata)
Intermission
CLAUDE DEBUSSY: Suite bergamasque
IGOR STRAVINSKY: Three Movements from ‘Petrushka’
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