Press

 

“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)

 “He begins with the Vladimir Horowitz arrangement of Liszt’s transcription of Saint-Saëns’s “Danse macabre”, a startlingly mature interpretation that not only demonstrates his athletic pianistic prowess, sureness of touch and clarity of detail but is also infused with subtle tonal shadings and a real sense of the music’s menacing, demonic power. … The two contrasting Liszt pieces at the end – “Bénédiction de Dieu dans la solitude” and the first Mephisto Waltz – are glowing testimony of a talent that is already compelling and certainly one to watch.” (The Telegraph, June 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)

“Within the most demanding passages he was able to shape the phrase, pick out inner voices and explore a wide palette of colour. Abduraimov combined formidable technique with an unusually thoughtful approach to the score, making for a fascinating and compelling reading of the concerto.” (The Australian, March 2012)

“Abduraimov certainly rose to the music’s technical challenges…Even more impressive was the level of passion and expression Abduraimov brought to the stage. The famous 18th Variation with its sweeping theme was nearly overwhelming with its emotion, and the ending was soft and reflective.” (The Kansas City Star, November 2011)

“The performance was a complete success. Abduraimov had the necessary technique to make the piece work, but he didn’t grandstand. He did not understate the music either. Put simply, he just nailed it.” (Ottawa Citizen, October 2011)

“Abduraimov’s artistry conferred its own magic, with each phrase exquisitely shaped… With Yan Pascal Tortelier and the London Philharmonic keeping well-judged pace, he took the concluding Tarantella [of Saint-Saëns Piano Concerto No. 2] at hurtling speed, covering the keyboard – and encompassing the divided trills and the scampering staccato octaves – with seemingly effortless grace.” (The Independent, October 2010)

“The 18-year-old Uzbek pianist Behzod Abduraimov powered his way through last year’s London International Piano Competition as though plugged into some mystical mains. His delivery of Prokofiev’s Third Piano Concerto was electrifyingly physical, combining liberated exuberance with astonishing technical control. This Wigmore recital was one of the spoils of victory, and much was riding on it…Everything reflected crystal-clear intention, everything felt fresh..the way Abduraimov hurled these fistfuls of notes around, he might have been taking a stroll in the park. And a thought arose: could this fresh-faced child be a new Horowitz?..He convinces his audience through sheer artistry.”    (The Independent, May 2010)

“The 18-year-old Uzbek pianist Behzod Abduraimov powered his way through last year’s London International Piano Competition as though plugged into some mystical mains. His delivery of Prokofiev’s Third Piano Concerto was electrifyingly physical, combining liberated exuberance with astonishing technical control. This Wigmore recital was one of the spoils of victory, and much was riding on it…Everything reflected crystal-clear intention, everything felt fresh..the way Abduraimov hurled these fistfuls of notes around, he might have been taking a stroll in the park. And a thought arose: could this fresh-faced child be a new Horowitz?..He convinces his audience through sheer artistry.” (The Independent, May 2010)