Christiaan Bezuidenhout Biography
Kristian Bezuidenhout is an Australian fortepiano player, harpsichordist, and pianist of South African descent.
Christiaan Bezuidenhout Age
He is 40 years old.
Christiaan Bezuidenhout Early Life and Education
Bezuidenhout was born in South Africa but studied in Australia and America. He passed his final exams at the Eastman School of Music in Rochester, New York, where he studied with Rebecca Penneys, Malcolm Bilson and Paul O’Dette. He gained fame when he won the First Prize in 2001, as well as the prize of the listeners, at the international piano Fort Competition of the Musica Antiqua Festival in Bruges.
Christiaan Bezuidenhout Career
He then embarked on an international career as a consultant, either as a soloist or with well-known orchestras such as the Freiburger Baroque Orchestra , the Orchestra of the Eighteenth Century , the Cologne Concerto , the Chamber Orchestra of Europe , the Collegium Vocale Ghent , Les Arts Florissants and the orchestra of the Haendel and Haydn Society. He has also performed with conductors Frans Brüggen and Christopher Hogwood, cellist Pieter Wispelwey and violinists Daniel Hope, Viktoria Mullova andPetra Müllejans, with whom he recorded Mozart ‘s violin sonatas. He also regularly acts as a continuo accompanist in song recitals with Carolyn Sampson, Mark Padmore, and Jan Kobow, among others.
Bezuidenhout plays alternately on the pianoforte, harpsichord, and piano. He performed at festivals in Barcelona, Boston and the Tanglewood Music Festival, Bruges, Saint Petersburg, Venice, Utrecht, Saintes, La Roque-d’Anthéron, Warsaw ( Chopin Festival), Bremen (Musikfest), the Lincoln Center in New York and the Gstaad Festival. He is also a guest teacher at the Eastman School of Music and at the Schola Cantorum Basiliensis.
He has dedicated concerts to the full piano concertos of Mozart and of Beethoven ( Concertgebouw Amsterdam ) with the Orchestra of the Eighteenth Century under the direction of Frans Brüggen. He also played with the Orchester des Champs-Élysées under the direction of Philippe Herreweghe, worked on a Mendelssohn project with the Freiburger Baroque orchestra and Gottfried von der Goltz.
Bezuidenhout deliberately limits his repertoire to music from baroque to romanticism. In response to criticism that he would play Mozart “too romantic”, he stated that he did not care for differences in musical style and periods, but to let the expression speak for itself. The Sturm und Drang in Mozart’s time is essentially the same kind of feeling expression as in Romanticism.