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Azerbaijani pianist From Wikipedia, the free encyclopedia
Fidan Aghayeva-Edler (born in Baku, Azerbaijan) is an Azerbaijani pianist best known for her modern and contemporary music performances. She supports the performance of female composers.
Fidan Aghayeva-Edler | |
|---|---|
| |
| Background information | |
| Born | Baku, Azerbaijan |
| Genres | classical music |
| Instrument | Piano |
| Years active | 1994–present |
At the age of seven she stood on the concert podium.[1] She studied with Oqtay Abaskuliev[2] at the Baku Academy of Music.[3] She completed her master's degree in 2011 with Einar Röttingen at the Griegakademiet in Bergen, Norway.[4] During this time she has developed a greater affinity for the music of Ludwig van Beethoven and Claude Debussy. In 2016 she finished the studies of concert examination with Jochen Köhler at the Martin Luther University of Halle-Wittenberg, Germany.[5]
"Six pianos" by Steve Reich among others with Post & Mulder (Borealis Festival 2010),[6] Makrokosmos by George Crumb[7] at the Moscow Conservatory[8] in 2011.
She was concertmaster of the State Capella Choir in Baku from 2011 to 2012. In 2013 she performed with the Azerbaijan State Chamber Orchestra.[citation needed]
In 2014 she performed one of the parts in a live radio broadcast on MDR Kultur[9] of Simeon ten Holts Canto Ostinato for four pianos.[10]
She has won prizes at international competitions (i.e. Gara Garayev in 1999[8]) and has been a guest at festivals.[11] With more than 50 performances a year she has a repertoire with a great variety of composers and stylistic epochs.
In 2019 she performed for the second time at the Berliner Kabarett Anstalt in the context of the series "Unerhörte Musik".[12] The performance was under the title "Zuwanderungen" (immigration) and included exclusively modern works of female composers like Ursula Mamlok, Mayako Kubo, Ruth Zechlin, Verdina Shlonsky, Sarah Nemtsov, Unsuk Chin and others.
In March 2019 her first solo CD "Verbotene Klänge"[13] was released under the label Kreuzberg Records.[14] The production was supported by the Ursula Mamlok foundation.[15]
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