My first impression of this Bach WTC project by Christopher O’Riley was that it deserved a Nobel Prize nomination. The breadth and depth of the research and the integrity of its delivery are immeasurable. As a life-long Bach devotee, I am looking forward to many enchanting hours with O’Riley’s WTC series.
~ Sophia Gilmson, Pianist & Pedagogue
Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier.
“Very thoughtful and inspiring.”
~Ludovic Morlot, Conductor Emeritus of the Seattle Symphony
“O’Riley played so delicately that he seemingly left no fingerprints on the keys, yet his melodies sung out with sweet clarity.”
~ The Washington Post
Christopher’s recent performances, live streams, short videos & other presentations.
“With unblinking virtuosity, he captures the band’s signature contradiction: encountering something exhilarating — a building, an airport-lounge interior, love — and feeling simultaneously somehow unwell. “ ★★★★
~James Hunter, Rolling Stone Magazine
TEACHING – COACHING
Christopher is available for on-line instruction and in-person lessons with advanced level students of all ages. He leads masterclasses and is available for residencies covering nearly every aspect of piano playing and repertoire from 1600 to 2020. He also presents workshops on the art of transcription.
“O’Riley is arguably the coolest guy in the business…and with unassailable credentials.”
~The Oregonian, Portland
Christopher O’Riley is highly regarded for his transcriptions of music by Radiohead, Elliott Smith, Nirvana, Nick Drake, Tori Amos, Tears For Fears & many more, including Leo Delibes and George Harrison.
Recordings of his arrangements are available for stream & sale.
Some arrangements are available as PDF downloads, please inquire for more details.
“[O’Riley]…seen in a state of brooding contemplation…burying his face in his hands…It’s as if he fears all that ravishing, whispering, thundering music has somehow run away from him and taken on a life of its own. It has, of course.”
~Ben Brantley, New York Times on Basil Twist’s Symphonie Fantastique