But was more impressive was what he [conductor Wilson Hermanto], and an exceptional young pianist, Amir Khosrowpour, did with Lowell Liebermann's Piano Concerto No. 2. Khosrowpour played it with irresistible verve, unpretentious directness and fingers of steel.

-- Mark Swed, Los Angeles Times


Preternaturally gifted, stunningly fluid, and blindingly fast.

-- Composer JG Thirlwell


If piano = automobile, then Amir Khosrowpour = Mario Andretti.

-- Time Out NY


Credit Amir Khosrowpour for brilliantly and nimbly accompanying the show on the piano.

-- Amanda LaPergola, Theater is Easy


This is the most uniquely entertaining form of piano showmanship I've ever seen. Musically a creative marvel!

-- Eddie Staudt,


As winner of the Manhattan School of Music’s Dora Zaslavsky Koch Competition, Amir Khosrowpour was the exciting soloist recently in Bartok’s Piano Concerto, No. 2, with the school’s Philharmonia. Mr. Khosrowpour, who has earned degrees in piano and composition from the University of Kansas, has a Masters from MSM and is currently a doctoral student there under veteran teacher Phillip Kawin. His repertoire tastes seem to veer toward the modern; his biography states, for example, that he chose Lowell Liebermann’s Piano Concerto No. 2 for a Music Teacher’s National Association Collegiate Competition program, an original choice compared to the usual fare. In this evening’s Bartok it became clear that this is a pianist who seeks out what is new and vital and delivers it with passion. Young composers, take note!

Khosrowpour dove headlong into the first movement with none of the usual waiting or fuss, and it was clear that the audience was in for a wild ride. Occasionally ensemble matters seemed challenging (further exposed by the absence of strings in this movement), but it was not for lack of clarity by the pianist who projected his rhythms with precision and charismatic physicality, bringing a dance-like quality to the work, rather than the mere savagery it sometimes endures. At the same time, his sound was amply bright and strong, and he was unafraid to make bold statements throughout. The Adagio was powerfully expressive, its bare octave lines infused with considerable drama and poetry. The finale was delivered with irresistible energy and drive, its jagged motives leaping off the stage.

Several curtain calls prompted an encore, and the pianist chose Aaron Jay Kernis’s Superstar Etude No. 1. Essentially a Jerry Lee Lewis style assault on the piano (complete with glissandi and forearms and legs on the keyboard), the work is amusing chiefly as a novelty. Having heard Alpin Hong play it about 6 years ago, I was almost ready to hear it again, but will now need another 6 years; Khosrowpour’s big personality suited it, however, and he brought the house down (interestingly garnering a standing ovation where the masterful Bartok had not).

-- Rorianne Schrade, NY Concert Review


Khosrowpour is a highly intelligent musician, with strong interpretive skills to go along with his virtuosic pianistic abilities.... Especially impressive was the first movement's solo cadenza, in which crashing octave passages were combined with fast-rolling left hand arpeggios to dazzle the audience. Even more impressive were the work's other two movements. In the slow second one, Khosrowpour found the lyrical essence of Grieg's tuneful main theme, while in the fast finale, he demonstrated an uncanny ability to phrase Grieg's ingeniously rhythmic melodies, that were accompanied by skillful playing from the FSO.

-- Laurence E. MacDonald, The Flint Journal


"Amir Khosrowpour rocks."

-- Pianist David Broome, Dave's Diary


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