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Robyn Koh


ROBYN KOH enjoys a richly–varied musical life as both harpsichordist and pianist. She was seven years old when she gave her first public performance on the piano in East Malaysia where she was born. She then moved to the United Kingdom where at the age of thirteen, she was awarded ABRSM’s Gold Medal and the Sheila Mossman Memorial Prize presented to the most successful Distinction Candidate in the British Isles. She subsequently won a place to Chetham’s School of Music, Manchester where she was a pupil of Ryszard Bakst. It was also here that she first met David Francis and became inspired by the harpsichord, further nurturing her passion and affinity for the music of Bach and his contemporaries.

 

Aged sixteen, Robyn was invited to make her piano concerto début in Moscow, giving concerts also in Kiev and Leningrad. Four years later having been a pupil of Hamish Milne, she graduated with Honours from The Royal Academy of Music, London where she had also been awarded a scholarship to continue harpsichord as joint first study with Virginia Black, obtaining a rare Distinction in her graduating recital. Robyn then pursued post-graduate studies at The Royal Northern College of Music, Manchester before becoming a student of Kenneth Gilbert, firstly at the Accademia Chigiana, Siena and subsequently at the Hochschule Mozarteum in Salzburg on a two-year scholarship.

 

Further awards have included from The Craxton Memorial Trust and The Young Concert Artists Trust. As soloist and chamber-musician, Robyn has collaborated with, and established partnerships in a variety of ensembles. She has given masterclasses and performed widely in South-East Asia, USA (including Lincoln Center), Scandinavia and the rest of Europe (including Wigmore Hall, Barbican and the South Bank in London) and has broadcast for various international radio and television networks. Robyn is currently based in London and devotes much of her time to teaching as well as free-lancing as pianist and harpsichordist. A NAXOS artist, she remains committed in the field of ‘historically-informed-performances’ and in contemporary harpsichord repertoire where she has been privileged to premiere several works written especially for her.