André Loss is a Concert pianist and chamber music player. His musical training was made in Brazil and in the United States, under the orientation of important teachers and performers. He obtained his Doctor of Musical Arts degree at the College Conservatory of Music of the University of Cincinnati, Oh.
André Loss received several awards and distinctions in piano competitions and in concerto auditions. He appeared as soloist in the seasons of several orchestras, among them the Symphony Orchestra of Porto Alegre, the State Symphony Orchestra of São Paulo, the Eastern Illinois University Symphony Orchestra, the Symphony Orchestra of Caxias do Sul, the Symphony Orchestra of Carazinho, the Chamber Orchestra of UNISINOS, the Chamber Orchestra of the Teatro São Pedro, the Chamber Orchestra of ULBRA, and the Chamber Orchestra of UFRGS.
He played in important music halls in Brazil, also acting in the United States as Visiting Professor and in Gest Artist Concert Series. Recently, he performed the complete cycle of F. Liszt Transcendental Etudes. He played several chamber recitals with renowned artists and acted as soloist with important conductors, like Eleazar de Carvalho. André Loss engaged recently in a Brazilian tour with the violinist Fredi Gerling playing the complete set of Beethoven’s Sonatas for Piano and Violin. Besides, he also formed duos with the Cellist Marjana Rutkowski and the Double-Bass Alexandre Ritter.
His CD with the soprano Adriana Zignani received the Açorianos Award from the City of Porto Alegre as the best CD of Classical Music. He recorded recently, together with other artists, a CD with works of Camargo Guarnieri. André Loss made the world debut of works by the composer Felipe Adami, including the world premiere of his Concerto for Piano and Orchestra, which was dedicated to him.
André Loss is a tenured Professor of Piano and Keyboard Literature, and a researcher at the Music Department of the Universidade Federal do Rio Grande do Sul. He is the creator and supervisor of the project “Digital Sources of Keyboard Music from 1730 through 1830.” Its main goal is to promote the diffusion of Eighteenth-Century and Pre-Romantic keyboard works in digital form. In a preliminary result, it allowed him to make the South American premiere of Johann Nepomuk Hummel’s Concertino for Piano and Orchestra.