Biography

Kiron Atom Tellian was born in 2002 in Vienna, Austria and began playing the piano when he was five years old. Kiron has completed the Programme for Highly Gifted Children at the University for Music and Performing Arts Vienna (MDW) in the class of Prof. Alma Sauer between 2010 and 2018. Since 2018 he studies with Prof. Vladimir Kharin in the Preparatory Programme Piano.

After playing his debut with orchestra when he was nine years old, Kiron has won countless prizes at national and international piano competitions for piano, chamber music and composition in Austria, France, Germany, Luxembourg, Netherlands, Italy, Slovakia, Russia, England, the USA and Japan. He is regularly playing many concerts in big concert halls all around the world.

Especially noteworthy are the first prize and Haydn prize at the 17th Ettlingen International Piano Competition in Germany, the grand prize and special prizes at the X. Savshinsky International Music Competition in Saint Petersbourg, Russia, and three first prizes in three different categories at the Fifth Rosalyn Tureck International Bach Competition in New York City, USA.

Kiron is also composer, with many prizes at the composers’ competition „Jugend Komponiert“. His pieces are performed regularly, spanning different ensembles, from solo piano works to pieces for symphony orchestra.

As a passionate chamber musician Kiron will perform with Julia Hagen, Benjamin Schmid, Emmanuel Tjeknavorian and Dominik Wagner in the next season.

A special moment of the last season was his performance with Chen Reiss and the Young Philharmony Vienna.

 

Press Echo

  • »Wenn man den Namen Emmanuel Tjeknavorian (Violine) sagt, sollte man auch Jeremias Fliedl(Cello) und Kiron Atom Tellian (Klavier) nennen, denn sie stehen in der Ausführung der ihnen gestellten Aufgabe nicht nach. [...] Krönender Abschluss: Tschaikowskis „À la mémoire d’un grand artiste“. Einem Pezzo elegiaco folgten ein Moderato assai und ein Allegro giusto. Was für eines! Der Beifall wollte nicht enden. Auf die Zugabe wurde verzichtet, zu groß war die Ergriffenheit im Publikum.« (Kronen Zeitung, 10. Aug. 2021)
  • "His Gigue … a delight in its extremely fast and even execution, without losing the slightest detail." (New York Concert Review, Oct. 12, 2017)
  • "… mit vielen Wassern klangsinnlichen Komponierens gewaschen.“ (Salzburger Nachrichten, 6. Juni 2016)