A native of Los Angeles, NORMAN KRIEGER is one of the most acclaimed pianists of his generation, highly regarded as an artist of depth, sensitivity and virtuosic flair.

Norman Krieger regularly appears with the major orchestras of North America, among them the New York, Los Angeles, Buffalo, Dayton, Evansville, Long Island, Rochester, Tennessee, and Hamilton philharmonics, the Minnesota Orchestra, the Boston Pops Orchestra and the symphony orchestras of Austin, Baltimore, Bozeman, California, Chicago, Cincinnati, Colorado Springs, Columbus, El Paso, Florida, Grand Rapids, Hartford, Honolulu, Indianapolis, Jacksonville, Kansas City, Long Beach, Milwaukee, National, New Haven, New Mexico, North Carolina, Oregon, Pacific, Phoenix, Pittsburgh, Richmond, Saint Louis, San Antonio, San Diego, San Juan, San Luis Obispo, Santa Fe, Santa Rosa, Spokane, Stockton, Syracuse and Virginia, as well as Mexico’s Orquesta Filamónica de la Ciudad de México and Orquesta Sinfónica de Xalapa. Abroad, he has been heard as guest soloist with Germany’s Philharmonisches Orchester Augsburg, Holland’s Orkest van het Oosten, Prague's Czech National Symphony Orchestra, Turkey's Presidential Symphony Orchestra, New Zealand’s Auckland Philharmonia, Taiwan's National Symphony Orchestra, and the Hong Kong Philharmonic. 

In recital, Norman Krieger has been heard throughout the United States, Europe, Mexico and Asia, while chamber music collaborations have included appearances with soprano Sheri Greenawald, cellist Jian Wang and the Tokyo and Manhattan String Quartets. In the summer of 1994, Mr. Krieger made his debut at New York City's prestigious Mostly Mozart Festival, earning an immediate invitation to Lincoln Center for the Performing Arts' 1995-96 "Great Performers Series."  

Norman Krieger’s current season is highlighted by performances with the symphony orchestras of Las Cruces, Modesto, Richmond, Spokane and Springfield (MA). He also returns to the Buffalo Philharmonic Orchestra, under the baton of Music Director JoAnn Falletta, for performances of the Brahms Piano Concerto #2, performances that are to be recorded for commercial release.

In 1987, Norman Krieger made headlines by being named the Gold Medal Winner of the first Palm Beach Invitational Piano Competition. Earlier, in 1984, he was selected to join the distinguished roster of Affiliate Artists, where he participated in the Xerox Pianists Program from 1984 to 1986. Mr. Krieger is also the recipient of the Paderewski Foundation Award, the Bruce Hungerford Memorial Prize, the Victor Herbert Memorial Prize, the Buffalo Philharmonic Young Artists Competition Prize and the Saint Louis Symphony Prize.

Norman Krieger's first piano teacher was his uncle, Rudy Hadda. Later training began in Los Angeles under the tutelage of Esther Lipton. At the age of 15, he became a full scholarship student of Adele Marcus at the famed Juilliard School, from which he received both Bachelor's and Master's degrees.  ubsequently, he studied with Alfred Brendel and Maria Curcio in London, and was awarded an Artists Diploma from the New England Conservatory, where he worked with Russell Sherman.

A champion of contemporary music, Norman Krieger features the music of John Adams, Leonard Bernstein, John Corigliano, Daniel Brewbaker, Judith St. Croix, Lukas Foss and Lowell Liebermann among his active repertoire.  

Norman Krieger's recordings include six albums available on the Artisie 4 label: Brahm's solo piano works and Piano Concerto No. 1 with JoAnn Falletta and the Virginia Symphony Orchestra; "Norman Krieger - Transformations" - comprised of Liszt's two piano concerti and Totentanz - with Paul Freeman and the Prague Radio Orchestra; "Gershwin in Prague" - including Rhapsody in Blue and Concerto in F - with the Prague National Symphony Orchestra and "Tomas Svoboda: Piano Concerto No. 2" with the Dayton Philharmonic Orchestra, both conducted by Neal Gittleman; "Norman Krieger Piano Recital," with music by Bach, Mozart, Beethoven and Chopin and "American Piano Concertos," featuring works by MacDowell and David Wiley with the Roanoke Symphony Orchestra, conducted by Mr. Wiley. Chamber music collaborations include "Raising the Roof," an album of chamber music by Haydn, Bloch, Bruch and Martinu (Artisie 4); "The Prince Albert Chamber Music Festival," including works by Barber, Beethoven, Bizet, Chopin, Schubert and Tchaikovsky (Artisie 4); "Voices Through Time," works of Brahms and Schubert with flautist Emily Skala (Summit); and "Summerdays," music of Barber, Berg, Bernstein, Gershwin, Glazunov, Lehar and Mozart, from the Musical Masterworks Festival at Old Lyme (Well-Tempered).

Norman Krieger is the founding Artistic Director of The Prince Albert Music Festival in Hawaii. In 1997 he was appointed Associate Professor of the distinguished faculty of the University of Southern California Flora L. Thornton School of Music.

To order CDs: www.normankrieger.com

"Krieger played [Beethoven Piano Concerto #3] with authoritative command of the keyboard, a fluid assurance of melodic line coupled with crisp, clean definition of the thematic material.  Particularly in the exquisitely tender Largo, Krieger sustained the achingly slow line superbly while playing with a tonal weighting keenly gauged to promote complete audibility of both the theme and Beethoven’s rich supporting chordal structure.  The bright, sprightly Rondo finale was marked by sensitive and very expressive uses of rubato.  I can’t remember ever hearing this concerto performed more convincingly."
THE BUFFALO NEWS

"Norman Krieger, featured in Gershwin’s Concerto in F and an encore of the composer’s Prelude No. 1 for solo piano, played with rhythmic acuity, understated brilliance and a keen ear for musical nuance, which is plentiful in this piece if the pianist chooses to realize it."
RICHMOND TIMES-DISPATCH

"Norman Krieger gave an outstanding performance of Beethoven's Concerto No. 2. The opening of the first movement was distinguished by lovely woodwinds under fine textured strings, then Krieger's sublime trills and arpeggios. His touch was superb, warm and brilliant, each note fully voiced but never heavy or strident, and he possessed great illusion of ease. His playing makes one realize that no matter how accessible classical music may be through CD's, there is absolutely nothing better than a great live performance in a great acoustic space."
EVANSVILLE COURIER & PRESS

"In his debut recording, Krieger's rendition of the three Gershwin Preludes is definitive; the first and third display virtuoso jazzy rhythms; the second shows a haunting blues style with gorgeous tone."
CLAVIER

"Norman Krieger may have sought too much profundity in Mozart's Variations on a Theme of Duport, but in doing so, he displayed a lovely, velvety touch, which served him well in three pieces by Chopin. The nocturne, especially, was beautifully turned out and sustained. But Mr. Krieger's fingers lack nothing in steel, as he appropriately showed in the études."
THE NEW YORK TIMES