Armstrong does not miss these opportunities, as they guarantee him “unforgettable moments.” Armstrong was introduced to painting at an early age. A biography about the exceptional pianist describes how, at the age of eight, he attended elementary school for a few hours in the morning, then went to high school, and finally studied at the Orange County School of the Arts in Los Angeles until 5 PM. “After that,” it continues, “his mother had arranged private lessons in piano, ballet, or painting—depending on what he felt like at the time.”

Born in 1992, Armstrong learned to read and write at a very young age. It is almost surprising that he did not start playing the piano until he was five. During his later studies at Utah State University, he combined music with several scientific subjects. To this day, Armstrong meticulously ensures that his schedule includes enough breaks for relaxation. Beyond sheet music, rehearsals, and concerts, he finds balance in mathematics and hands-on experiences in a completely different field. He closely follows the development and possibilities of AI.

Armstrong has a tendency to delve deeply into many disciplines. A high capacity for abstraction and an exceptionally good memory are his constant companions. Years ago, master pianist Alfred Brendel once called him a “child prodigy”—and Brendel, of all people, should know that such a term carries risks and can sometimes go to the head of the person being described. But Brendel knew his student Kit well. Therefore, any concerns would be unfounded.

Armstrong speaks fluent German and several other languages. He often needs very little time to learn them; for example, he taught himself Latin in just six weeks. However, in personal interactions, Armstrong does not showcase his many talents. On the contrary, one encounters a highly attentive, friendly, and polite person who speaks in a rather soft voice. At the piano, Armstrong has an incredible sensitivity for nuances in piano dynamics, but he is also capable of pushing a grand piano to its maximum volume. In conversation, however, one would hardly suspect this.

Kit Armstrong could be more famous and more present in the media if he wanted to be. But he does not aspire to the popularity of a classical music pop star; instead, he prefers to explore niches where he can satisfy his immense artistic curiosity—whether on the harpsichord, the organ, or, as is most often the case, the concert grand piano. Armstrong has an unusually wide repertoire, spanning from the English Renaissance of William Byrd to contemporary music, to which he also contributes as a composer. One of his composition teachers at the Royal Academy in London once remarked: “The most gratifying thing is that the student Kit Armstrong has finally stopped writing academically and is instead composing truly contemporary music.” Whether as a pianist or a composer, Armstrong loves “systems in which complexity emerges from comprehensible rules.”

Now, as Kit Armstrong invites audiences to the Museum Folkwang in Essen, he is fulfilling a long-held wish: “It has always been my dream to bring painting and music together.” In various rooms of the museum, he will place different keyboard instruments and perform pieces that reflect, extend, and interact with the spirit of the surrounding exhibits. “I am looking forward to this very special atmosphere that can be found in museums. By that, I don’t just mean the reverent silence, but also the fact that here, you can encounter people with open minds.”

Armstrong wants to make this moment tangible—not only by playing different instruments but also by engaging with people in conversations about music and visual art. “It is certainly an experiment with many possible benefits and unexpected inspirations.” An experiment that may only be the beginning of many more. Because Kit Armstrong is too versatile to stay solely on familiar paths.

Photo: Neda Navaee