Pouya’s relationship with the piano has its roots in Iran, where he began to study seriously at a young age. Upon moving to Canada he attended the selective (auditioned) high school diploma program at Claude Watson School for the Arts, focusing on piano performance and accompaniment. His private teachers included Kent Mcwilliams and Janet Lopinski. As an extracurricular activity he also attended the highly competitive Young Artist Performance Academy (YAPA) at the Royal Conservatory of Music (RCM) on weekends. He achieved his Associate of the Royal Conservatory (ARCT) status before entering university, the highest certification bestowed by the RCM. Pouya participated in several music competitions such as the Canadian Music Competition, Kiwanis Music Festival, and Markham Music Festival winning first place awards and scholarships in piano performance.
Well-prepared by these experiences and a passion for the piano, Pouya continued to excel at the University of Toronto, where he completed a Bachelor of Music in Piano Performance along with a Bachelor’s in Composition. He studied with the renowned Jamie Parker and Janet Lopinski, and had opportunities to perform in many stimulating settings. Piano concertos, instrumental and vocal accompaniment (such as Arias and Lieder), piano trios, and other chamber music are some of Pouya’s many skills. Pouya was also employed as accompanist for The Martha Hicks School of Ballet in Toronto. He continues to perform with the musical groups Ladom Ensemble and Sacred Balance, and also as a solo performer.
|Persian Legend||Aminollah Andre Hossein||Persian Piano Night (ICOT)||2011|
|Prelude from Well-Tempered Clavier, Book 1, No. 22 in B-flat minor||J. S. Bach||Piano Recital||2008|
|Fugue from Well-Tempered Clavier, Book 1, No. 22 in B-flat minor|
|Johann Sebastian Bach’s Well-Tempered Clavier is one of the most revered sets of keyboard works. The inventiveness and compositional prowess displayed in the composition of these pieces are truly extraordinary. Bach intended this work to be “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” These compositions have been very influential on future composers such as Ludwig van Beethoven and Frédéric Chopin. The meditative and expressive prelude played here is an excellent introduction to the intricate five-voice fugue that follows.|
|Prelude No. 4 in E minor, Op. 87||Dmitri Dmitriyevich Shostakovich||Piano Recital||2008|
|Fugue No. 4 in E minor, Op. 87|
|Shostakovich modeled his 24 preludes and fugues on Bach’s monumental Well-Tempered Clavier collection. The fourth prelude is an intimate expressive piece that precedes a complex fugue based on a beautiful melody in which the composer employs all the popular fugal techniques to weave an exquisite tapestry of sound.|
|Vallée d’Oberman||Franz Liszt||Piano Recital||2004|
|Music has a power beyond words. While many travelers have recorded their experiences in books and travelogues, Franz Liszt documented the chronicles of his emotions during his voyages through Europe, his pilgrimage as he would call it, in musical compositions collected in the celebrated “Années de Pèlerinage” books. This composition is among the most popular pieces in this collection. It is inspired by the beauty of the Swiss Alpine landscape and describes the almost pantheistic reverence of nature exercised by the Romantic composer. While the dazzling technical aspects enable the performer to demonstrate his virtuoso skills, the piece requires a very deep and emotional understanding of the subject matter and requires the pianist to go well beyond these techniques and develop a very personal reading of the composition.|
|Sarcasms, Op 17, 1st movement (Tempestuoso)||Sergey Prokofiev||Piano Recital||2004|
|Sergei Prokofiev is one of the most important composers of the 20th century. His great achievement, arguably, is that he was able to create masterpieces full of explosively innovative ideas under the constant gaze of Soviet authority and censorship. The piece performed is characteristic of the piano works of this composer. While this early piece only comprises of five short movements, many of the characteristic techniques that Prokofiev uses throughout his career are already present here. A playful sense of humor is prevalent throughout the piece and strange ideas are expressed using intricate technical tricks on the keyboard.|