Arsha kaviani biography template
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Music is a reflection of the world and the universe we find ourselves in, and so seeing it as an abstract thing that exists disconnected from everything else is completely counterintuitive to what it is to be an artist.
What is your most memorable concert experience? Though his prodigious talents were quickly noticed and a move to the UK for formal musical training followed, these formative experiences of total freedom and experimentation – “not knowing what wasn’t possible” – were instrumental in shaping Arsha as an artist of rare independence and imagination.
During his studies at Chetham’s School of Music and then the Royal Northern College of Music, Royal College of Music and Trinity Laban Conservatoire Arsha was the recipient of numerous prizes and was mentored by leading artists including Stephen Hough, Vladimir Jurowski, Daniel Barenboim, Lang Lang and Peter Donohoe, who has described Arsha as “one of the most exciting pianistic talents to emerge in recent years”.
Busoni has come to be a composer very dear to him and in the following year he performed the monumental Op.39 Piano Concerto, for the opening of the Chetham's International Piano Festival, which internationally acclaimed musician and pedagogue Josef Banowetz said was 'one of the most incredible things I have ever seen.' He received the Alfred Clay Prize for Piano, when graduating from the RNCM which is given to the pianist with the best final recital.
Never content to follow the well-trodden path of the typical concert pianist, in recent years Arsha has sought out unusual venues and developed unique formats for his live performances, incorporating wide-ranging repertoire, original compositions and audience-prompted improvisations. Through his production company Maison Musique Kaviani Arsha accepts commissions to write bespoke music for private clients and collaborates on innovative interdisciplinary projects, including previous work with figures as diverse as world-renowned photographer Damon Baker and author and philosopher Robert Greene.
In Arsha’s musical imagination the most virtuosic classical repertoire mingles happily with pop, jazz, traditional Persian music and far beyond, and through his extraordinary playing these influences present themselves in performances, arrangements and new compositions of exhilarating wit and originality.
Praised for his prodigious talent and impassioned bravura playing, Dubai-born, Iranian concert pianist Arsha Kaviani is one of the most creative young artists concertising today.
As a composer/improviser my formula for ‘success’ is how accurately are you able to communicate what you hear in your mind and imagine in your head into real sound using your instrument(s). Early Beethoven sounds like Haydn/Mozart and early Scriabin sounds incredibly similar to Chopin in many places. What methods do you use and how do ideas come to you?
I am a huge fan of alternating between intense work and then letting the idea ‘decant’.
Committed to demystifying classical music for curious listeners from all backgrounds, Arsha is a convivial guide to a wide range of repertoire, speaking and playing from the piano with authority and refreshing informality. Sergei Rachmaninoff’s First Piano Concerto shows influence from Edvard Grieg’s Piano Concerto in A Minor (same with Balakirev’s First Concerto resembling very much the Chopin E Minor Concerto).
Some of my best non-musical ideas have come out of conversations (sometimes with myself..!).
How would you characterise your compositional language/musical style?
A (hopefully unique) musical voice that has come out of the hundreds of composers and artists I’ve admired, heard, internalised and studied.
Of which performances/recordings are you most proud?
My upcoming album Accents & Echoes has been my biggest recorded labour of love.
This I feel will make us crave the long-form, slow-burn, thoughtfully and meticulously crafted things even more than the quick dopamine hits that are artistically incentivized now. Articles copied from Draft Namespace on Wikipedia could be seen on the Draft Namespace of Wikipedia and not main one.
About
Arsha Kaviani creates unique musical experiences around the piano.
So, I think original voices only come out of acknowledging the voices one is deeply influenced by. I was supposed to do a mini tour with Chuck Israels (who played with the Bill Evans trio for years), but sadly we had to cancel because of the pandemic, but we’re hoping to revisit this soon.
How do you work?
One of the most out-of-body experiences was playing the huge Busoni Piano Concerto Op.39 when I was 19 years old. During his time at Chetham's, he performed Prokofiev's 2nd concerto with the Istanbul Symphony Orchestra and Alexander Rahbari, which he repeated with the Chetham's Symphony Orchestra after winning the concerto prize.
A Steinway Artist named by International Piano Magazine as one of the 30 Under 30 Best Pianists in the World, in his career Arsha has given critically acclaimed performances with international orchestras including Tonhalle Zurich, The Royal Liverpool Philharmonic and Orchestre Symphonie de Bretagne, and performed solo recitals in prestigious venues ranging from London to Tokyo.
Challenging the conventions and hierarchies of classical music is central for Arsha as both a performer and a composer.
As far as LLMs go, no matter how strong they get, the way in which they parse through and arrange information at present means they are always going to be imitation devices, albeit exponentially stronger, better ones than their predecessors. | Arsha Kaviani | Classic FM" width="840" height="473" src="https://www.youtube.com/embed/IWurFx3iQ-M?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen>
What’s the one thing we’re not talking about in the music industry which you really feel we should be?
The colossal elephant in the room that is Artificial Intelligence for creators of music, art, literature and beyond.
I did it for the opening of the Chetham’s International Piano Festival in Manchester and spent the months before steeped in this zen-like state of living and breathing this work. His talent was very soon recognized and In 2004 at 14 years of age, after winning a regional competition Arsha made his concerto debut with the Dubai Chamber Orchestra, performing the 'Africa' Fantasy by Saint-Saens, and won a scholarship to the prestigious Chetham's School of Music in Manchester to study with Murray Mclachlan which he attended two years later.
The latency and distortion between what you imagine and what is heard by the audience should be lessening and lessening as you understand your craft better – I still am and will always be very much a student at this! The plus side to this for creators is that innovation so far stems entirely from the human being.