For Serouj Kradjian, Mozart and Fairuz Go Hand in Hand

One thing I used to do early on — and which I continued to develop — was to improvise and play by ear. So arranging music was always there for me from the beginning. I would arrange melodies I either created or heard. And all this happened with almost no lessons really.

It was after this performance and later when I appeared a lot on TV, that the famous composer and pianist Boghos Gelalian took me under his wings.

TMB: How were the lessons with Boghos Gelalian?

SK: What I loved about Bogh Gelalian was that he offered each student something individually, rather than one system of learning that applied across all his students. In me, he saw the improvisational talent, the readiness to explore different repertoire, and he really developed my technique in a very unique way. For other teachers, it would be customary to offer exercises, mostly related to technique. But the way he developed my technique was by giving me piano sonatas by Scarlatti. It was an unorthodox way to do this, and I know a lot of finger technique matured and grew stronger because of this.

He was strict but every time I deviated from the box in my interpretations, he would nod his head and say that’s not the way it’s usually done. But he would accept what I did. What I liked about him most was that he was proficient in many different styles. He was close to the Rahbani brothers and arranged a lot of Fairouz’s music. At the same time, he was incredibly proficient in classical music — and of course, he was a classical composer. He was also proficient in jazz. He was a well-rounded musician who hadn’t restricted himself to one style of music. That was my earliest inspiration when, later in my career, I became exactly that: a musician who didn’t restrict himself.

TMB: A lot of your music intersects genres, styles, and cultures. What drives you to synthesize these worlds?

SK: For me, it’s all in the idea of reimagining. I adopted that approach early on. As pianists, as classical pianists especially, we recycle music that has been written by masters. When I say recycle, each pianist brings in his or her own interpretation of a piece of music written hundreds of years ago and played by hundreds of pianists. I used to do this myself. But, then I thought to myself how about if we go a step further and we reimagine with the question: what if? What if Mozart or Chopin had lived a hundred or two hundred years? What would they have done? As if they were in a time machine and moved forward in time and then went back and composed their piece. Even as a child, I never saw myself in a box, in one category, constructed to one genre. And of course, I have a curious mind. Part of it is also that you have to have a sense of humor and imagination when approaching music — and most of all that you are telling a story or offering a different experience with the piece you are playing or composing.

TMB: What lasting impact do you hope for when people walk away from your music?

SK: I think it depends on each piece. In some pieces, my original pieces, in four or five minutes I want to condense very diverse feelings, powerful sensations, moods and colors. I want it to be a very intense experience in a short amount of time. If they ask themselves the question, “I never thought this was possible in music,” I have accomplished my mission. That’s one way. I think also it’s as if, you know how

TMB: Let’s go back to your training. After establishing such a unique foundation with Gelalian, where did your musical training take you next?

My parents decided to immigrate to Canada. So I continued my studies there. I think that period in my life was more academic than creative. I had a great teacher at the Royal Conservatory of Music and then I went on to the University of Toronto. But here my knowledge was more theoretical and less about performance — who I wanted to be as a musician. I didn’t give much thought to that during this time. But looking back, I think this might have been beneficial because it was meant to be part of the foundation I needed to know myself as an artist. And I didn’t pursue an academic path in music. I knew I wanted more.

TMB: You mention wanting more. What kind of musician did you know you needed to become?

SK: I made a snap decision to go to Germany and that truly changed my life. That’s where I found myself as a musician. From both the teacher I studied with (great Norwegian pianist Einar Steen-Nøkleberg) and all the fellow students studying there, we learned so much from each other. I think probably for the first time in my life, since my childhood, I fell in love with music again. And that made a big difference in convincing me yet again that this is the path I should choose and that I don’t have to take one direction in music—that I can be multifaceted and can explore different styles while perfecting my artistry.

TMB: What do you love about music?

SK: First and foremost, it’s made me a better person. It’s also made me love life because I can’t imagine my life without music, and that goes hand in hand. I think music keeps me young. I think it gives me such happiness in that when music is present in my life — I’m not saying materialistic things don’t matter — but it gives me an immense amount of satisfaction. The creative side offers me fulfillment; the connection with others that I can offer, the beauty I can present to my audience, and the bridge I can create between people. And I have always been a good mediator.

TMB: I know that you have lived in Spain. Tell me about those years and what they offered.

SK: In Spain, I balanced a rigorous performance schedule with my busy academic career. I think I toured in every single small or big town in Spain. I played many concerts with my good friend, Ara Malikian. When I was there, I also taught a lot of students, whose accomplishments I am very proud of. I believe Spanish and South American music have always been in my blood, even though I am ethnically Armenian. Living in Spain offered daily inspiration. For musicians, for all artists, where you are, who you surround yourself with, and what you see, really shape your thoughts and creative output.

It’s very interesting that it was during my years in Spain that I had the idea of orchestrating the songs by Gomidas. And all my work for that — twenty-five songs which were never before arranged for voice and orchestra — was done while I was in Spain. During this time, I also released an album of the complete transcendental studies by Franz Liszt. I joined a tango ensemble and all the other ensemble members were Argentinian. And of course, there is no better way to learn about tango or how to play tango from Argentinians. I was in constant contact with Flamingo music, almost on a daily basis. I realized it was the life I loved, the Mediterranean life, which I grew up in despite the war. These years were very inspiring and formative years for me — not only as a pianist but also as an arranger and a composer.

TMB: Your new production, “Piano Rhapsody,” is debuting soon. What can audiences expect, and what excites you most about sharing it?

SK: Liszt’s Hungarian Rhapsody No. 2 was always one of my favorite power pieces, a public’s favorite when I used to play, and I used to play a lot of crowd-pleaser pieces. But again, as usual, I thought, after playing the original version for so long and so many times, I should do something different. I created a rock/Latin music version. And I thought it is time to create a new show called Piano Rhapsody—giving classical pieces a new breath or reimagining them. Whether it’s Hungarian Rhapsody with Mozart’s Queen of the Night mixed with the Brazilian Tico-Tico, or Romeo and Juliet mixed with Jimi Hendrix’s Purple Haze, this “Piano Rhapsody” show is kind of a tale of legends.

TMB: What is your advice for the next generation pursuing music?

SK: In the age that we are in, everything is expected to be fast  —rapid results. And in this hectic world, slowing down to feel more, to hear more, to give more, and to appreciate more, is often forgotten. And of course, I should add, to love more. Following music of tradition, of good taste, of a story that belongs to a long history, that gives the chance for all these things to happen in life. For young people who want to choose this path, I would urge two things: The preparation is important, whether that is attending good schools, and learning from great teachers. But finding yourself is just as important, if not more.

(Kradjian performs his new production in Boston on December 20, 2025. Stay tuned for Boston ticket details. Dr. Tamar Marie Boyadjian is an internationally recognized, award-winning author, poet, and medievalist. She is the first U.S.-born author to publish a book of poetry and a fantasy series in the endangered Western Armenian language. An avid lover of music, she currently teaches Armenian Language courses at Stanford University. Learn more at her website: tmbwriter.com)