Latvian-born and Berlin-based, Georgijs Osokins is the first Baltic pianist to sign an exclusive multi-album agreement with Deutsche Grammophon. His debut DGG recording, For Arvo, released on Arvo P\u00e4rt\u2019s 90th birthday, comprises Arvo P\u00e4rt\u2019s complete piano works, including a duo recording with Martha Argerich and Osokins\u2019 own piano transcription of the iconic Fratres, for which P\u00e4rt granted him exclusive authorisation to perform and record. In November 2026, DGG will release his second album, Constellations, in which core repertoire by Bach, Schumann, Chopin, Brahms and Wagner is set in contrasting dialogue with the cosmic miniatures of Estonian composer Urmas Sisask.<\/p>\n
An anti-mainstream Chopinist, a poet in the freedom of his phrasing, Osokins illuminates the familiar with wholly personal insight, a quality that inspired Garrick Ohlsson to write: \u201cYou recreated the kind of moments I was lucky enough to hear with Horowitz at his best, a link to an earlier time \u2014 Rachmaninov, Hofmann, Friedman \u2014 artists whom my generation never heard.\u201d<\/p>\n
Press reviews of Osokins\u2019 live performances have been equally fervent, culminating in the words of French critic Andr\u00e9 Peyregne, who captured his performance of Chopin\u2019s Second Concerto with the Orchestre Philharmonique de Monte-Carlo under Mirga Gra\u017einyt\u0117-Tyla with rare eloquence: \u201cYou are about to hear Chopin\u2019s Second Concerto for the hundredth time and suddenly, a pianist appears who tells you a new story, who intersperses his discourse with original touches, unprecedented accents, reveals original phrasing, and employs his own unique articulations, and in doing so, exalts the profound meaning of the work. All of this goes straight to your heart.\u201d<\/p>\n
Highlights of 2026 and 2027 include, among others, Chopin\u2019s Piano Concerto No. 2 with the Orchestre de la Suisse Romande under Mirga Gra\u017einyt\u0117-Tyla in Geneva, Lausanne and KKL Lucerne; a four-hand performance with Martha Argerich of works by Ravel and Schubert\u2019s Fantasie at Elba\u2019s festival in Italy; a tour of Japan including his debut at Suntory Hall in Tokyo; his recital debuts at the Gewandhaus Leipzig and at the Konzerthaus Dortmund; concerts with the Orquestra Sinf\u00f3nica Portuguesa and recitals at the Beethoven Easter Festival in Warsaw, the Beethoven-Haus Bonn, the Mus\u00e9e des beaux-arts in Montr\u00e9al and a return to the Klavier-Festival Ruhr.<\/p>\n
Osokins has appeared with orchestras including the Orchestre Philharmonique de Monte-Carlo, the Orchestre de la Suisse Romande, the Israel Philharmonic Orchestra, Kremerata Baltica, the Warsaw Philharmonic, the NFM Wroc\u0142aw Philharmonic, the Orquestra Sinf\u00f3nica Portuguesa, the Danish Chamber Orchestra, the Latvian National Symphony Orchestra and the Tokyo Metropolitan Symphony Orchestra, under conductors such as Mirga Gra\u017einyt\u0117-Tyla, Christoph Eschenbach, Rotem Nir, Vladimir Fedoseyev, Andrey Boreyko, Adam Fischer, Tianyi Lu, Lio Kuokman, Andris Poga and Kristiina Poska.<\/p>\n
Osokins first gained international attention at the age of 19 during the XVII International Chopin Piano Competition, where he quickly became an absolute audience favourite. His interpretations were hailed by critics as \u201crevolutionary\u201d and \u201cexceptional and unpredictable\u201d. Shortly afterwards, Osokins made important debuts at the Elbphilharmonie in Hamburg, Konzerthaus Berlin, Klavier-Festival Ruhr, Laeiszhalle in Hamburg, the Gstaad Menuhin Music Festival, the Lockenhaus Festival, the Schleswig-Holstein Musik Festival, the International Piano Series in Bern, NOSPR Concert Hall in Katowice, NFM Hall in Wroc\u0142aw, the Vancouver Playhouse, Tokyo Metropolitan Theatre and Tongyeong Hall in South Korea. In the season 2021\/22 Georgijs Osokins first appeared at the 101st Salzburg Festival, Wigmore Hall in London, Pierre Boulez Saal in Berlin and Sala Verdi in Milan. 2023 saw his first appearances at Salle Gaveau in Paris, at the Shanghai Music Festival and at Carnegie Hall\u2019s Stern Auditorium in New York alongside Gidon Kremer. Together with Lucas Debargue, Georgijs was named the first permanent Guest Artist of Kremerata Baltica in its 25-year history.
\nGeorgijs Osokins received the Silver Cross of Merit awarded by the President of the Republic of Poland and, in 2016, the Latvian Grand Music Award \u2014 his country\u2019s highest state award in music \u2014 previously awarded to Mstislav Rostropovich, Mariss Jansons, Gidon Kremer, Andris Nelsons, El\u012bna Garan\u010da and P\u0113teris Vasks.<\/p>\n
Osokins performs on a piano bench custom-made for him by Fazioli.<\/p>","protected":false},"excerpt":{"rendered":"
Latvian-born and Berlin-based, Georgijs Osokins is the first Baltic pianist to sign an exclusive multi-album agreement with Deutsche Grammophon. His debut DGG recording, For Arvo, released on Arvo P\u00e4rt\u2019s 90th birthday, comprises Arvo P\u00e4rt\u2019s complete piano works, including a duo recording with Martha Argerich and Osokins\u2019 own piano transcription of the iconic Fratres, for which P\u00e4rt granted him exclusive authorisation to perform and record. In November 2026, DGG will release his second album, Constellations, in which core repertoire by Bach, Schumann, Chopin, Brahms and Wagner is set in contrasting dialogue with the cosmic miniatures of Estonian composer Urmas Sisask.<\/p>\n","protected":false},"author":4,"featured_media":9771,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[84],"tags":[],"class_list":["post-9736","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pianist"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/9736","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=9736"}],"version-history":[{"count":10,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/9736\/revisions"}],"predecessor-version":[{"id":13181,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/9736\/revisions\/13181"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/9771"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=9736"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=9736"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=9736"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}