As a solo artist and conductor he is an exception in international concert life. Appointed one of Germany's youngest music directors in 2011, he has mastered an immense opera, concert and piano repertoire and fascinates his audiences as a solo artist and conductor alike.
Among his teachers, Florian Krumpöck counts some of the most important pianists of our time, Rudolf Buchbinder, Gerhard Oppitz and Elisabeth Leonskaja. Daniel Barenboim described him as "a wonderful pianist" after a prelude, paving the way for a promising international career. After sensational criticisms on his debut at the Tonhalle Zurich, with the Radio Symphony Orchestra Moscow under Vladimir Fedosejew, invitations to important European music centres followed, including Vienna, Salzburg, Munich, Zurich, Moscow, Israel, the USA, China and South Korea. Highly acclaimed solo recitals at international festivals such as the Salzburg Festival, the Salzburg Easter Festival, the Bregenz Festival, the Bad Kissingen Music Summer, the Bach Festival in Leipzig, the Mecklenburg-Vorpommern Music Festival and the Wiener Klangbogen consolidated his further career.
Florian Krumpöck regularly performs as a soloist in large concert halls such as the Wiener Musikverein, the Wiener Konzerthaus, the Tonhalle Zurich, the Herkules Saal in Munich, the Meistersinger Hall in Nuremberg or the large hall of the Moscow Conservatory. Among other things he played several complete cycles of the 32 piano sonatas by Beethoven. In September 2017 Florian Krumpöck started recording all 32 piano sonatas by Ludwig van Beethoven as well as all the piano sonatas by Franz Schubert, mostly on his own Bösendorfer grand pianos, model 290 Imperial and model 275.
Every pianist knows the disadvantage of the piano in comparison to the human voice as well as string and wind instruments: A played tone can no longer be modulated, the sound decreases to infinity until it is no longer perceptible. The memory remains. An essential part of the pianistic work is thus the learning of the illusion: the illusion of a legato or a crescendo, since without this illusion, every melody, every phrase, would have to be played in a diminutive way. The very personal sound of the Bösendorfer grand piano lets the produced sounds blossom and swell almost vocally. Thus, on no other instrument is the modulating of a song, modelled after the vocals, so simple and self-evident. The sheer musical sensation miraculously translates directly to the piano. The richness of overtones and the very specific, warm sound of the Bösendorfer grand piano almost let us to forget that the piano is a highly complex, mechanical instrument.
As a conductor Florian Krumpöck was among other things General Music Director and Chief Conductor of the Norddeutsche Philharmonie and the Volkstheater Rostock as well as Chief Conductor of the Symphony Orchestra Liechtenstein and the Orchestre de Chambre du Luxembourg. He is regularly on the podium of major European, Asian and American orchestras. Since 2015 he is director of Kultur.Sommer.Semmering. in Austria.
Since April 2018 Florian Krumpöck is Bösendorfer Artist.