Performing regularly as a concert pianist in Japan, Kiana Reid has also given concerts in Italy, Germany, Austria, Russia, South Korea, Taiwan and Hong Kong. She has been invited to perform at many prestigious venues, including the Suntory Hall and Tokyo Opera City Concert Hall in Japan. She has performed with many professional artists and in various orchestras, including Orchestra Sinfonica Metropolitana di Bari,Tochigi Philharmonic Orchestra, Geidai Philharmonia Orchestra, Takamatsu Symphony Orchestra, Kansai Philharmonic Orchestra and Seto Philharmonic Orchestra. 

Born in Japan in 1995, Reid studied the piano from the age of six, and at the age of eleven she was awarded the first prize at the PTNA Piano Competition. In 2010, she was accepted by The Music High School attached to The Faculty of Music, Tokyo University of the Arts and started to study with Hirosh Arimori. When she was seventeen, she performed at the Salzburg Music Festival. In 2014 She received a Scholarship funded by YAMAHA and Rohm music foundation. She won the 5th prize at the 3rd Takamatsu International Piano Competition, won 1st prize at the Città di Albenga International Piano Competition, won 1st prize at the Amigdala International Prize for Piano Interpretation and 46th Palma d'Oro International Piano Competition.

In March 2017 she graduated from Tokyo University of the Arts at the top of her year and performed for the Imperial Family at the Imperial Palace in Tokyo. She received Ariadne Musica Prize, Oga Norio Prize, Mitsubishi Chisyo Prize, Acanthus Music Prize, Ataka Prize, and Doseikai Prize from Tokyo University of the Arts. She also received the Next Generation Cultural Award and Art Encouragement Prize from Shiga prefecture. She is a selected 2021-22 artist of  “Building Bridges for the Next Generation of Pianists” produced by Sir Andràs Schiff.

She studied under Prof. Pasquale Iannone, and graduated from Conservatorio di Musica “Niccolò Piccinni” Bari with the highest score. She currently continues her studies under the tutelage of Prof. Eldar Nebolsin at Hochschule für Musik Hanns Eisler Berlin.

Piano

Kiana Reid

Haydn’s Piano Sonata in F Hob. XVI:23 was published in 1774, dedicated to his aristocratic employer, Prince Nikolaus Esterházy. Perhaps the most ear-pricking characteristics of its Moderato first movement are its frequent interplay between major and minor, and its quantity of dazzlingly rapid passagework demanding crisply lucid articulation. A deeply expressive Adagio in F minor follows, before a sparkling Presto finale.‍

One of the greatest masterpieces of the pianistic repertoire, Schumann’s Fantasie in C appears to have been first conceived in 1836, born out of an intriguing blend of inspirations both private and public, romantic and professional, all revolving around the greatest pianist virtuosi of Schumann’s day. Firstly, its dedicatee Franz Liszt (who in turn dedicated his Sonata in B minor to Schumann), because there appears to have an idea for a Grand Sonata whose sales could contribute towards Liszt’s fundraising for a statue to their fellow pianist-composer Beethoven – Schumann’s own musical idol, who had died when Schumann was in his mid teens. Then also Liszt’s concert-stage rival and Schumann’s love, Clara Wieck, whose father was at this point forbidding their relationship, convinced that marriage to Schumann would jettison Wieck’s illustrious international performance career, while tying her to a man who couldn’t support her (fears which turned out to be well-founded).‍

Whatever the final ratio of Beethoven to Wieck, the resultant work, published in 1839 (the year before Schumann and Wieck married), offers up an emotional world of a strikingly profound intensity and poeticism. Also an unusually-ordered one, with its three movements running fast-fast-slow rather than fast-slow-fast. While the slow final movement is of a depth that led the great pianist Sviatoslav Richter to claim he felt inhibited to play it, it was actually the work’s bang-and-you’re-in first movement that Schumann himself described to Wieck as ‘Probably the most passionate thing I have ever done – a deep lament for you’; and indeed this movement ends with a quotation from Beethoven’s song, ‘To the distant beloved’, neatly marrying Schumann’s personal and professional loves.

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Kiana Reid, piano

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