A recent Shigeru Kawai Artist, Bangkok-born Poom Prommachart is regarded as one of the most accomplished Thai pianists today. His performances are highly regarded for their lyrical intensity and virtuosity.
Poom graduated from the Royal College of Music (RCM), London, where he earned the prestigious International Artist Diploma in 2014 and a Master’s Degree in Performance (Distinction) in 2013, receiving an exceptional high distinction for both solo piano and chamber music. Recently, he was awarded the most prestigious Tagore Gold Medal for his outstanding career and great contribution to the RCM, presented to him by HRH The Prince of Wales in May 2014. He also received his Bachelor of Music (Honours) with Hopkinson Gold Medal and the Sarah Mundlak Memorial Prize for Piano from the RCM for the best fourth year graduation recital in 2011. Other important awards at the RCM have included the John Chisell Schumann Award (2009) and 1st prize in the RCM Concerto Competition where he performed Prokofiev’s Piano Concerto No.2 in G minor, Op.16, with the RCM Symphony Orchestra conducted by Phillip Ellis (2011).
Poom has performed in many world-famous concert halls throughout Europe, Asia and Australia and has also worked with many leading orchestras. At the very young age of 25, he has over 30 concertos in his repertoire. He has already developed an international reputation as an outstanding performer of rare expressive depth, and has been acclaimed by critics who called him ‘a young Ashkenazy’ in Seen and Heard’s UK Concert Review in 2010.
If you would open any biography of Franz Liszt, you would probably mostly read about his disquiet life as a piano virtuoso, his passionate love life, and the return to his catholic roots at the end of his life. Although all of this might be true, it only scratches the surface of his comprehensive musical personality. Liszt was a pianist, conductor, teacher and organiser, but above all he was a composer of a voluminous, capricious body of work. Even though his piano works formed his core business, he gave rise to the symphonic poem, got rid of the organ's stuffy appearance, and reinvigorated the oratorio. Moreover, with his piano transciptions of Bach's organ works and Berlioz's Symphonie Fantastique, he was an advocate of both old and new music.
Together with his son-in-law Richard Wagner, he was in the forefront of the Romantic movement and anticipated the musical revolutions of the early 20th century with his new composition techniques.