Dr. Grigor Khachatryan is a pianist and a composer with a unique devotion to the mastery of his art. His newly released CD with Albany Records, featuring him at the piano with two of his own monumentally virtuosic piano sonatas, “Battle of Avarayr” and “David of Sassoun,” has received instant rave reviews from numerous critics and prestigious magazines around the world and has brought him international fame.
Khachatryan’s solo and chamber repertoire is vast, with works ranging from J.S. Bach to György Ligeti. As a prizewinner of major international piano competitions such as the Cincinnati World Piano Competition, the Russian International Piano Competition, the Bloomington Symphony Orchestra Competition, Arabkir National Piano Competition of Yerevan, the Elite Generation Armenian National Competition, Khachatryan has performed concerti of Mozart, Beethoven, Chopin, Schumann, Brahms, Grieg and Tchaikovsky throughout the world. In 2014, he was invited to perform in Carnegie Hall by the Armenian General Benevolent Union of New York City. He recently toured nationally with the Concordia Orchestra performing Rachmaninoff’s 3rd Piano Concerto. In 2019, he toured internationally as a soloist in Shanghai, China.
Born in Yerevan, Armenia, Khachatryan began his musical studies at Barsej Kanachyan’s Music School of Yerevan. Shortly thereafter, Khachatryan moved to the United States and continued his musical development at the prestigious Jacobs School of Music at Indiana University under the tutelage of distinguished professor of piano, Luba Edlina-Dubinsky, where he earned his Bachelor, Master and Performer Diploma degrees. In addition, Khachatryan holds a doctorate degree in Piano Performance, Composition and Music Theory from the Jacobs School of Music. During his graduate studies, he served as Junior Faculty of Piano at the Jacobs School of Music.
Khachatryan’s mentors include Arnaldo Cohen, Emile Naoumoff, Evelyne Brancart, Karen Shaw, Edmund Battersby, Jean-Louis Haguenauer, Elizabeth Wright, Shigeo Neriki, Kevork Mardirossian, Mark Kaplan, Janos Starker, Emilio Colón, Jamie Laredo, Jorja Fleezanis, Mimi Zweig, P.Q. Phan, Don Freud and Frank Samarotto.
Dr. Khachatryan serves as an assistant professor of piano at Concordia College, Moorhead. Khachatryan is also the director of the annual Concordia Piano Festival and the founder of YouTubeConservatory.
Dr. Khachatryan is represented by artist management by arrangement with Jack Price.
“The first prizewinner, Grigor Khachatryan, is no stranger to the performing arts stage. During the concerto performance, he seemed to lead the audience with him as he went from double pianissimo to double forte … and back.” – Al Walker, Times Mail
“The piano language in the two works is original and imaginative… The composer at the piano knows how to present his creations: Without effort he masters the intricate, sometimes polyrhythmic challenges of the works and otherwise convinces with atmospheric performances.” – Remy Franck, Pizzicato
“Like all of Khachatryan’s music here, the music poses many technical challenges… performed with aplomb by the composer.” – Colin Clarke, Fanfare
“The songful first movement, along with two slow movements, bring Khachatryan’s considerable melodic gift to the fore.” – Huntley Dent, Fanfare
“Khachatryan’s strong technical training is evident in his forcefully confident execution. The music’s persistence in my memory, along with the vividly imagined scenarios it inspired, indicates that, to me at least, Grigor Khachatrayn has accomplished his aim of creating a fusion of art, history, and legend that’s worth hearing.” – Robert Schulslaper, Fanfare
“The recording, which Khachatryan himself oversaw, is excellent, with space around the piano but not so much as to lose clarity. I think that any collector with a taste for Romanticism will find this disc a very pleasant listening experience.” – Henry Fogel, Fanfare
“Khachatryan has embraced fairly traditional standards of Classical form and wedded them to an eclectic array of late Romantic and mainstream 20th-century styles and modes of expression that make for a very beautiful sonata, and a riveting one that holds the attention for its entire duration. That, in itself, is an exceptional accomplishment for only the young composer’s second opus. This listener’s attention was held unflagging for 42 minutes, and that is testament to a structural integrity occasionally lacking even in some later works by some of the greatest and most famous composers.” – Jerry Dubins, Fanfare