Rising star pianist Amiri Harewood returns to Harrogate next month with an eclectic programme spanning Auerbach to Brahms. Ahead of his performance, he talks to Group Editor Andrew Palmer about curating recitals, artistic growth, and being the only musician in his family.

Amiri Harewood has a busy schedule, and I sneak in a quick phone call with him, where, after the greeting, there's an immediate sense of both youthful enthusiasm and composure that belies his years. The young pianist, who has captivated Harrogate audiences on a previous visit, speaks with quiet excitement about his return to the spa town next month.

"I'm excited to be coming back," and I get the impression he is smiling. "The Harrogate audiences have been so supportive."

What's surprising about Harewood is that, despite his prodigious talent at the keyboard, he doesn't come from a musical family. When I ask about this, he admits he thinks he's the only one who plays an instrument.

Our conversation turns to the upcoming recital, and he describes his carefully curated programme with enthusiasm. He's beginning with three of Lera Auerbach's Preludes, which he discovered while searching for works to play for his end-of-year exams.

"They remind me of pieces of abstract art," he explains. Thoughtfully adding, "They're ethereal and distant, evoking strong imagery without a lot going on, which I think is quite powerful. They really spoke to me then, and that feeling never goes away. Every time I perform them, they speak to me in the moment."

Harewood sees these pieces as an invitation—a way to introduce the audience not only to his programme but also to a different area of modern music and a unique soundscape. His hope is that they'll draw listeners in, creating an entry point for the journey that follows through works by Shostakovich, Prokofiev, Bach, and Brahms.

When planning a recital, Harewood takes one of two approaches: either building around a theme or selecting a collection of works that resonate with him personally. "I want to show different areas of the piano repertoire and what the instrument can do," he says. "Either a programme that shows the diversity of a theme, the diversity of the instrument, or just works that mean a lot to me."

Recently, Harewood signed up with YCAT (Young Classical Artists Trust), a UK charity supporting emerging classical musicians. The process has been illuminating. After completing the online application, he found himself thinking deeply about programming concepts. The in-person auditions were surprisingly comforting—"a nice atmosphere," he recalls. "The first-round jury was really welcoming and warm. It immediately felt like a comfortable place to be."

YCAT has provided him with a range of performance opportunities and the space to hone his craft, thereby enhancing his comfort level as a performer. His voice reflects a thoughtfulness as he discusses his development as "the artist I realise myself being."

This phrase—"the artist I realise I am"—reveals a maturity and self-awareness that's striking. When asked what kind of artist that might be, he doesn't limit himself. "I would love to do a mix of recitals, concertos, and chamber music," he says. "I find the concept of programming a recital of works that tell a narrative about myself quite enjoyable. It's like the biggest opportunity to say something completely personal."

His ambitions extend to an impressive list of works he hopes to tackle. Despite being regarded as some of the most challenging pieces in the standard piano repertoire, he is eager to tackle the Chopin Ballades. He speaks enthusiastically about Rachmaninov's Third Concerto, Beethoven's Fourth, and Brahms' "Second—"bigger than life pieces I would love to tackle." Bach's Keyboard Concertos, Six Partitas, and eventually the Goldberg Variations also figure in his future plans.

Harewood's approach to learning new pieces reflects his methodical nature. For complex pieces, he begins by analysing the harmony away from the piano before bringing it to the keyboard to work through slowly. Simpler pieces go straight to the piano but still receive the same careful attention as he listens for the different elements within.

When conversation turns to influences, he cites Igor Levit, whom he's seen perform live, along with recordings by Zimmerman and Horowitz. His favourite composer to play? "Bach, most of all," he says without hesitation. "And I admire Rachmaninoff, as well as Beethoven's late works, including the string quartets."

As our interview concludes, Harewood's eagerness for his return to Harrogate is evident. Based on past reception, the feeling is clearly mutual among local audiences, who will soon have the opportunity to witness this thoughtful young artist continuing to evolve before their eyes and ears.


Amiri Harewood performas on Sunday 23 March at 11am
The Old Swan Hotel, Harrogate.

Band A tickets £24 | Band B tickets £23 | Band C tickets £21 | Under 35 tickets £5.

For more information and to book click here.