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A pianist always striving for adventurous, thoughtful, and challenging programming, Andrew Zhou has concertized in major venues in Los Angeles, Boston, and Paris. He has collaborated with the Callithumpian Consort, Discovery Ensemble, and the Quatuor Diotima, and has worked with composers Unsuk Chin, Tristan Murail, Roberto Sierra, Christopher Stark, and Christian Wolff. Highlights include working closely with Chin as a soloist in the Austrian premiere of her “Double Concerto” for prepared piano and percussion as part of the Klangspuren Schwaz festival, and performing Messiaen’s “Turangalîla-Symphonie” as part of the Lucerne Festival Academy. Finalist and winner of four special prizes at the 2012 Concours International de Piano d’Orléans in France, Andrew studied with Bruce Brubaker at New England Conservatory, where he received the Beneficent Society Scholarship, and Thomas Schultz at Stanford University, where he studied, in addition to music, international relations (with a focus on African studies) and modern languages. He has also participated in coachings and lessons with, among others, Emanuel Ax, Stephen Drury, Ursula Oppens, Jacques Rouvier, Peter Serkin, Ignat Solzhenitsyn, and members of the St. Lawrence and Borromeo String Quartets, as well as members of Ensemble Modern and Ensemble InterContemporain.
He is currently in the Doctor of Musical Arts program in Critical Keyboard Studies at Cornell, studying with Xak Bjerken. He has worked closely at Cornell with the graduate composers and co-curated of a symposium at Cornell in April 2013 with Walter Zimmermann as composer-in-residence. He was the recipient of the Manon Michels Einaudi Grant as well as a Don Randel Fellowship, which allowed him to create and execute an undergraduate seminar on the subject of music and diplomacy in the twentieth and twenty-first centuries. His current dissertation unites and counterpoints sound studies, disability studies, recording technologies and histories, performance practice, and changing conceptions of the “undomesticated ‘piano sound'” as they relate to the social and artistic standings of the instrument in the past hundred years.
He has recently released a CD entited “Vienne et après” (Tessitures label) with works by Schoenberg, Lachenmann, Stockhausen, Zimmermann, Matthias Pintscher, and Olga Neuwirth, with works by the last two receiving their first studio recordings.