JOEY CALDERAZZO

PETRONEL MALAN

ALEXANDER PALEY

CLEMENS UNTERREINER

OVIDIO DE FERRARI

MIKHAIL PLETNEV

 

Sine 2004 he is a student in the class of Karl-Heinz Kämmerling at the Conservatory for Music and Theatre Hannover. 1999 he called attention to himself by winning the “Vienna da Motta” competition in Portugal. This prize enables him playing concerts in the New York Carnegie Hall, the London Wigmore Hall and in the Salle Pleyel in Paris. The same year Amir recordet his first CD for the lable Naxos with works of Brahms, Debussy and Prokofjev. The Russian pianist appeared among others at festivals in Portugal, Germany, France, Belgium, Poland and Russia. He gave concerts in several countries of Europe, but also in Brazil, Japan and in the USA and played with many international orchestras, such as the Orchestre National de Belgique, the Gulbnkian Symphony Orchestra of Muscovite Virtuosos, the BBC Scottish Symphony Orchestra, the Südwestdeutschen Philharmony Konstanz, the Mazedonian Philharmony, the Sendai Symphony Orchestra (Japan), the Kazakh State Symphony Orchestra and the Shanghai Symphony Orchestra.

Winner of the First Prize at the George Enescu International Piano Competition 2009 in Bucharest, Romania. 
Winner of the First Prize at the Third Anton Rubinstein International Piano Competition 2007 in Dresden, Germany.

Historical Composers & Artists

"After my coffee and cigar we went to one of the recording rooms where they had a Blüthner piano Well, this Blüthner had the most beautiful singing tone I had ever found. I became quite enthusiastic and decided to play my beloved Barcarolle of Chopin. The piano inspired me. I don’t think I ever played better in my life.“

Arthur Rubinstein 

„My Many Years“ (page 281)

 

„In das Exil nach Amerika begleiteten mich nur zwei Wesen von Bedeutung: meine Frau Natalja und mein kostbarer Blüthner.“

“There are only two important things which I took with me on my way to America. My wife Natalia and my precious Blüthner.”

Sergei Rachmaninoff

 

 “Almost in the middle of the room, the black Blüthner grand stood, free of music, book or photographs. Debussy was proud of his grand piano, and before I played he showed me a new device invented by Blüthner: an extra string set on top of the others. Although not touched by the hammers, it caught the overtones, thus increasing the vibrations and enriching the sonority. This was a piano he had rented during a stay in Bournemouth, and liked so well that he had bought it and had it shipped to Paris.” “He played a number of passages and the tone he extracted from the Blüthner was the loveliest, the most elusive and ethereal I have ever heard”. 

letter from Maurice Dumesnil, friend

Claude Debussy

Debussy's Blüthner at the Musée Labenche