The harpsichordist, fortepianist and music pedagogue, Kristian Nyquist, was born in Los Angeles and grew up in Germany. After having taken both piano and violin lessons, he became acquainted with the harpsichord at the age of 15. He consecutively studied with Christine Daxelhofer at the University of Music Karlsruhe and, supported by a postgraduate scholarship from the German Academic Exchange Service (DAAD), with Huguette Dreyfus in Paris, where he graduated with a “Prix de Virtuosité”. In addition, he participated in master-classes led by Colin Tilney, Bob van Asperen and Gustav Leonhardt. Awards at various international competitions followed (e.g. Concours Musical d’Ile-de-France, Prague Spring).
After having been accompanist and teacher at the University of Music Mannheim from 1989 on, Kristian Nyquist was appointed for a full-time post teaching harpsichord, fortepiano, figured-bass playing and chamber music at the University of Music Karlsruhe in 2006. Above this he conducts various courses and lectures on historically informed performance practice. He also appears as jury member at different competitions. His numerous concerts demonstrate a widespanned repertoire of music from the 16th century to the contemporaries. The intensive involvement in the music of today is an essential part of his artistic work and especially characterized by world and German premieres as well as collaboration and artistic exchange with personalities like e.g. Violeta Dinescu, Roderik de Man, Peter Heeren, John Patrick Thomas, Hans Werner Henze, Georg Katzer, Anders Eliasson, Reinhard Wolschina, Sidney Corbett, Michael Beil and others.
As both harpsichord and fortepiano-soloist Kristian Nyquist works together with various orchestras. A devoted performer of chamber music he extensively performs together with violinists such as Nachum Erlich, Leila Schayegh and Friedemann Wezel as well as with the flutists Jean-Michel Tanguy and Renate Greiss-Armin, oboist Ingo Goritzki, bassoonist Sergio Azzolini, guitarist Maximilian Mangold, cellist Julius Berger, the Mandelring-Quartett and the “ensemble recherche” among others. Most recently he also has made his first steps into the lied-accompaniment on historical fortepianos.
A series of recordings released by Pavane, Telos, Koch-Schwann and Plein Jeu exemplify the variety of his personal style of interpretation, always based on historical-scientific studies. Among his latest recordings, his reading of J.S. Bach’s Goldberg Variations (BWV 988), performed on the famous original Ruckers instrument from 1624 in Colmar, France, has found high acclaim in the international music-world.Most recently a solo recording “Origins of Romantic Piano Music” featuring sonatas by Clementi and Nocturnes by Field and Chopin was released by the German label