A stunningly virtuosic pianist, Alexander is internationally recognised for his electrifying and poetic performances. Gavrylyuk launched his 2017/18 season with a BBC Proms performance of Rachmaninov’s Third Piano Concerto described as “revelatory” by The Times and “electrifying” by Limelight.
Highlights of the 2019/20 season include: debuts with San Francisco Symphony, San Diego Symphony, Detroit Symphony Orchestra, Dallas Symphony Orchestra, Orchestre National de Lyon, BBC Philharmonic Orchestra, NDR Elbphilharmonie Orchester and Orchestre Philharmonique Royal de Liège, as well as return visits to Philharmonia Orchestra, Hallé Orchestra, Rotterdam Philharmonic Orchestra and São Paulo Symphony Orchestra.
Alexander also appears in solo recital at prestigious venues through Europe, including Wigmore Hall, Muziekgebouw Frits Philips Eindhoven, Perth Concert Hall, Palace of Arts Budapest, Lille Piano Festival and throughout Australia.
Born in Ukraine in 1984 and holding Australian citizenship, Alexander began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. At the age of 13, Alexander moved to Sydney where he lived until 2006. He won First Prize and Gold Medal at the Horowitz International Piano Competition (1999), First Prize at the Hamamatsu International Piano Competition (2000), and Gold Medal at the Arthur Rubinstein International Piano Masters Competition (2005). He has since gone on to perform with many of the world’s leading orchestras and conductors.
Alexander is Artist in Residence at Chautauqua Institution where he leads the piano program as an artistic advisor. He supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young, aspiring Australian pianists as well as Opportunity Cambodia, which has built a residential educational facility for Cambodian children.
WOLFGANG AMADEUS MOZART Rondo in D major K485 JOHANNES BRAHMS Rhapsody No. 2 in G minor Op. 79 JOHANNES BRAHMS Intermezzo in B-flat minor Op. 117 No. 2 JOHANNES BRAHMS Intermezzo in C sharp minor Op117/3 FRANZ LISZT Étude No. 6 in A minor (Études d’exécution transcendante d’après Paganini) SAINT-SAËNS ARR. LISZT/HOROWITZ Danse Macabre Interval MODEST MUSSORGSKY Pictures at an Exhibition
19:3014 Jan 2020Palace of Arts Budapest - Müpa Budapest, BUDAPEST
WOLFGANG AMADEUS MOZART Rondo in D major K485 JOHANNES BRAHMS Rhapsody No. 2 in G minor Op. 79 JOHANNES BRAHMS Intermezzo in B-flat minor Op. 117 No. 2 JOHANNES BRAHMS Intermezzo in C sharp minor Op117/3 FRANZ LISZT Étude No. 6 in A minor (Études d’exécution transcendante d’après Paganini) SAINT-SAËNS ARR. LISZT/HOROWITZ Danse Macabre Interval MODEST MUSSORGSKY Pictures at an Exhibition
Sonata for Keyboard no 47 in B minor, H 16 no 32 by Franz Joseph Haydn, Variations (28) for Piano on a theme by Paganini, Op. 35 by Johannes Brahms Sonata for Piano no 5 in F sharp major, Op. 53 by Alexander Scriabin Sonata for Piano no 6 in A major, Op. 82 by Sergei Prokofiev Etudes (12) for Piano, Op. 25: no 7 in C sharp minor by Frédéric Chopin Etudes (12) for Piano, Op. 8: no 12 in D sharp minor by Alexander Scriabin Wedding March and Dance of the Elves from Mendelssohn’s “A Midsummernight’s Dream”, S 410 by Franz Liszt Sonata for Piano no 7 in B flat major, Op. 83 by Sergei Prokofiev
Toccata and Fugue in D minor, BWV 565 by Johann Sebastian Bach Sonata for Piano no 18 in D major, K 576 “Hunt” by Wolfgang Amadeus Mozart Sonata for Piano in A major, D 664/Op. 120 by Franz Schubert Etudes-tableaux (9) for Piano, Op. 39 by Sergei Rachmaninov Etudes (15) de virtuosité, Op. 72 “Per aspera ad astra”: no 11 in Ab major by Moritz Oriental Fantasy for Piano, Op. 18 “Islamey” by Mily Balakirev Preludes (13) for Piano, Op. 32: no 12 in G sharp minor, Allegro by Sergei Rachmaninov Concert Paraphrase on Mozart’s “Rondo alla Turca” by Arcadi Volodos
Sonata for Keyboard no 47 in B minor, H 16 no 32 by Franz Joseph Haydn Variations (28) for Piano on a theme by Paganini, Op. 35 by Johannes Brahms Sonata for Piano no 5 in F sharp major, Op. 53 by Alexander Scriabin Sonata for Piano no 6 in A major, Op. 82 by Sergei Prokofiev Etudes (12) for Piano, Op. 25: no 7 in C sharp minor by Frédéric Chopin Etudes (12) for Piano, Op. 8: no 12 in D sharp minor by Alexander Scriabin Variations on the Wedding March from Mendelssohn’s “Midsummer Night’s Dream” Sonata for Piano no 7 in B flat major, Op. 83 by Sergei Prokofiev
13 Sep 19RachmaninovRhapsody on a Theme of Paganini, Op. 43 Ferguson Center for the Arts
“These contrasts were brought out magnificently by Rachmaninov specialist Alexander Gavrylyuk in a performance that was note-perfect as well as being interpretively impressive. His bright and crisp pianism made the music gleam. In other places he was ruminative, while heart-on-sleeve romanticism wasn’t neglected either, but thankfully kept in check. This is later Rachmaninov, after all – a bit leaner in expression – and Gavrylyuk’s interpretation emphasized that to very good effect.”
08 Jun 19RachmaninovRhapsody on a Theme of Paganini, Op. 43 Lille Auditorium du Nouveau Siècle
with the Orchestre National de Lille & Alexandre Bloch.
“Le pianiste Alexander Gavrylyuk qui fit ses débuts français lors du Festival de Colmar 2010 ne manque ni de fermeté ni de douceur pour défendre cette partition concertante tandis que l’Orchestre montre toute la mesure de sa puissance sous la direction précautionneuse d’Alexandre Bloch.”
22 May 19RachmaninovRhapsody on a Theme of Paganini, Op. 43 Philharmonie de Paris
with the Orchestre National d’Ile de France & Enrique Mazzola.
“L’artiste d’origine ukrainienne se meut avec aisance et beauté sonore dans cet opus ; chaque variation est évidence sous ses doigts. Grâce à un piano presque électrique et à la bienveillance solaire de Mazzola, Rachmaninov ne souffre d’aucune pesanteur et joue même de transparence et de délicatesse. En toute simplicité, Gavrylyuk nous plonge en bis dans le calme nostalgique « des pays lointains », première pièce des Scènes d’enfants de Schumann.”
21 Mar 19Rachmaninov Piano Concerto No. 2 Browning Center & Abravanel Hall
with the Utah Symphony Orchestra & Ivan Fischer.
“The pianist’s opening phrase began with a fine, delicate pianissimo and grew into a powerful momentum that set up the entry of the orchestra. During the poignant second movement, the pianist’s touch, timing and phrasing made for an exceptionally lyrical presentation. Here the interplay between the pianist and several of the orchestral soloists shone very brightly indeed.”
24 Nov 18ProkofievPiano Concerto No. 3 Cincinnati Music Hall
with the Cincinnati Symphony Orchestra & Kirill Karabits.
“It was a welcome return for the pianist, who performed with the orchestra at Lincoln Center in 2016 as well as on its 2017 Asia tour. For this program, he brought Prokofiev’s treacherously difficult Piano Concerto No. 3 in C Major, a piece that is as remarkable for its lyricism as it is for its nonstop challenges for the pianist.
For Gavrylyuk, none of that was a problem. He plunged into the quick opening “Allegro” with power to spare. Endowed with a phenomenal technique, he soared easily through great fistfuls of virtuosities, always with biting clarity. Yet he also displayed an ear for color and could summon the lightest, most glittering touch when needed.
That gift for color and mood was especially evident in the second movement’s variation marked “meditativo,” which had an otherworldly atmosphere. The finale was supercharged, featuring one technical feat after another. Yet its middle section was a contrast of warm arpeggios accompanying the theme in the cellos. As the piece built to a climax, Gavrylyuk matched the orchestra in sonority, finishing in an impossibly fast display of fireworks.
Karabits was an excellent partner, and from my seat high in the gallery, the balance between piano and orchestra was first-rate. With listeners on their feet, Gavrylyuk provided an intimate, deeply-felt encore: “Of Foreign Lands and People” from Schumann’s “Kinderszenen” (Scenes from Childhood), Op. 15, No. 1 in G Major.”
15 Nov 18TchaikovskyPiano Concerto No. 1 Chicago Symphony Center & Edman Memorial Chapel
with Thomas Søndergård and the Chicago Symphony Orchestra.
“The Ukrainian-born pianist’s approach to the warhorse was wholly embracing, preferring affection to affectation, with subtly novel explorations. His interpretation toggled from transparent intimacy—the solo section before the second theme nearly sounded like Chopin—to dramatic passion, and his cadenzas were just as individual … One hopes audiences won’t wait so long next time to hear King Christian and Rachmaninoff’s earliest symphony on a CSO program. And ideally, they’ll see Thomas Søndergård and Alexander Gavrylyuk back in Chicago even sooner.”
“These selections from a lesser-known work of Sibelius, with Søndergård in expressive and firm control at the helm, were played with an acute sensitivity to mood and texture, a transparency and clarity that were captivating. The opening Nocturne from King Christian II is almost deliriously lyrical, while the deeply contrasting closing Ballade is heavily dramatic. The CSO flowed from one extreme to the other with rhythmically incisive and beautifully shaped interpretations, particularly evident in the spicy tambourine-accented climax of the Nocturne, a piece that is filled with many elements that can be called characteristic of the composer’s later work”
“Gavrylyuk also seized the first opportunity to turn a poetic phrase, his legato lines defying the inherently percussive nature of the piano, his rubato understated but unmistakable. Best of all, Gavrylyuk offered some daring pedaling in the Russian manner, producing dissonances that more cautious pianists would have avoided. One marveled, too, at the music-box charm Gavrylyuk conjured in the upper-register passages of the first movement’s cadenza”
09 Nov 18TchaikovskyPiano Concerto No. 1 Usher Hall, Edinburgh & Royal Concert Hall, Glasgow
with Thomas Søndergård and the Royal Scottish National Orchestra.
“… with a huge range of dynamics audible in the briefest of phrases, and hyper-active pedal technique making a telling contribution as well. He was also playing very close attention to his conductor’s baton as Sondergard produced a very singular flow through the slow movement and into the finale. Left to his own devices, the pianist was a showboating marvel on an encore of Horowitz’s arrangement of Mendelssohn’s Wedding March.”
“… the impact was instant… [Gavrylyuk] made this mammoth warhorse sound as fresh as the day it was conceived. It had power and panache, but it also had brilliant rhythmic precision and attention to tonal detail that ensured every note and phrase had reason to be there. A dazzling Horowitz encore followed.”
28 Oct 18Tchaikovsky Piano Concerto No.1 Royal Festival Hall, London
with Rafael Payare and the Philharmonia Orchestra.
“There followed a totally memorable performance of the Tchaikovsky, often a battle royal between soloist and orchestra. On this occasion the protagonists were equally matched, the Philharmonia – the all-important woodwinds superbly poetic and the strings … were especially lustrous. Alexander Gavrylyuk is a formidable pianist. Three things were immediately apparent. Firstly, however loudly he may play the sound never hardens. Secondly, the most extreme passages were despatched with thunderous power. Lastly, this power is allied to delicacy and musicality in the most heart-stopping way. There was an encore, well-chosen to lower the emotional temperature, the first section of Schumann’s Kinderszenen, ‘Von fremden Ländern und Menschen’.”
25 Sep 18TchaikovskyPiano Concerto No.1 Royal Concert Hall, Nottingham
with Karl-Heinz Steffens and the Halle Orchestra.
“You knew [Gavrylyuk] was totally in control from the word go. There was something almost balletic in the way the opening chords leapt from the keyboard and from there on everything about the performance was sonic theatre. Yes, there was plenty of poetic, chamber-like intimacy in the slow movement but it was the physical excitement that made this performance so memorable: the hurling of fistfuls of notesand all that muscle-power to push dynamics to extremes. And after all that he came back to give the encore of a lifetime: Liszt’s Concert Paraphrase on Mendelssohn’s Wedding March which turns piano playing into a death-defying high-wire act. It brought the house down.”
29 Aug 18BrahmsPiano Concerto No.1 Concert Hall, Sydney Opera House
“In a word, I was gobsmacked. I opened my box of superlatives and couldn’t find anything good enough to describe his playing … While Gavrylyuk’s technique seemed to have no limits, it was his interpretation of this concerto that made it the best Brahms No. 1 I’ve heard, live or recorded. There were moments during the slow movement that almost moved me to tears, and when he laid into what are some exceedingly demanding passages in the first and third movements, I wanted to fly. This was high voltage, inspirational stuff that comes along very rarely.”
“The climax (I use the term advisedly) of the evening came with the Australian/Ukrainian Alexander Gavrylyuk in Brahms’ titanic First Piano Concerto, Op. 15. … Gavrylyuk played this passage beautifully and affectingly, but not affectedly, nuanced with even a discreet touch of rubato and proceeded to capture every every kaleidoscopic shade of this mainly storm-tossed movement. His octave outbursts, massive trills and negotiation of the movement’s gnarly nodal passages superbly controlled, with a perfect orchestral balance maintained by conductor David Robertson.”
20 May 18Solo Recital Herbst Theater, San Francisco
“[Gavrylyuk] launched straight into Busoni’s Mesozoic transcription of Bach’s early organ Toccata and Fugue in D minor, BWV 565 (c.1704/c.1900) with the accuracy of a guided missile. It was, however, the infectious charm and spirited humor of Haydn’s B minor Sonata Hob.XVI/32 (1776) which offered him the perfect vehicle to apply his wide palette of judicious soft dynamics, regular-irregular phrasing, varied legato, non-legato and staccato touches, and the opportunity to syncopate the Presto’s crisp rhythms and voice counterpoints … With searing musical insight Gavrylyuk shared the intimate poetry of six of Chopin’s Douze Etudes Op.10 – Nos 3, 8, 9, 10, 11 and 12, not in a performance more typical of the vain, empty glitter of a circus stunt but with love and respect for the Chopin aesthetic and sonority … Gavrylyuk deployed an orchestral sonority close to the work’s symphonic textures and in this respect (as well as others) his performance emerged as more of an orchestration than those enshrined by Gieseking, Sofronitzky and Richter. Following San Francisco’s recent surfeit of Fifth-Sonatas, Gavrylyuk’s penetrating musical insight was not only welcome but reminded us of a rapidly vanishing order of conceptual and performing priorities which are in urgent need of protection. Languorous dreams worthy of Pushkin or Blok revealed shimmering surfaces and sensual textures hovering between tender yearning and abrupt, violent Skryabinic volandi which surged across the entire keyboard. Tight rhythmic control and fastidious attention to detail were exemplary … From beginning to end, the great artist was absorbed in his task, barely moving a muscle except to adjust essential back or shoulder weight. He maintained his classical posture throughout with unflinching keyboard focus as he systematically enveloped his audience in strategic layers of symphonic sound, exploiting the hall’s magnificent acoustics to full advantage. A blur of rapidly concentrated hand movements brought the miraculous achievement to a close before the audience leapt to its feet cheering him to the rafters.”
16 May 18Solo Recital Vancouver Playhouse, Vancouver
“Alexander Gavrylyuk’s excellent concerto performances have always been distinguished by strong emotional and intellectual involvement, mingling with a sometimes Horowitz-like virtuosity and fire. Nonetheless, they are still relatively relaxed events compared with his solo recitals … Gavrylyuk clearly lives every moment of his solo experiences, and communicates so viscerally and with so much immediacy (and indeed with so much patent honesty) that the listener can hardly avoid being taken into his world … While thunder and bravura were never far away here, the concert explored a useful balance of styles, mixing Bach, Haydn and Chopin with Scriabin and Rachmaninoff – and it added up to great effect. This was the ‘Gavrylyuk Experience’ at its finest.”
06 May 18Solo Recital, Miami International Piano Festival Aventura Arts & Cultural Center, Miami
“Gavrylyuk’s feathery touch and delicate filigree enhanced the graceful theme of the Menuet [of Haydn’s Sonata in B minor] before the rumbling storm of the central section. His rapid tempo and big-boned approach to the final Presto created the kind of excitement that Haydn could hardly have imagined with the limited resources of the fortepiano for which he created the work . The opening of Scriabin’s Sonata No. 5 … seems to emanate from some lower depths. This 1907 work fits Gavrylyuk like a glove with its wild and unhinged creative invention. Quieter, more lyrical sections were exquisitely rendered. The scherzo-like section was turned into a crescendo of tone and decibels yet carefully controlled. While Gavrylyuk reveled in the knuckle-busting octaves at top speed, he drew sumptuous sounds from the Steinway in the moments of romantic nostalgia.”
03 May 18ProkofievPiano Concerto No. 1 Artis-Naples
“Anyone counting up the top classical concerts you’d seen all season before Thursday night, you started counting too soon. Alexander Gavrylyuk nearly set the Artis—Naples Steinway on fire Thursday night, and possibilities are good he would do it again Friday night on the Prokofiev Piano Concerto No. 1. It was difficult to count how many notes he could play per second —more than four — in this demanding tapestry of a work. But speed, although essential, is only in its body, not its soul. A sucessful performance demands a clear-eyed passion, and Gavrylyuk obviously owns that. He towered over the keyboard, as though delivering personal commands; at times during the more subdued second movement he leaned back, as if to savor it as a listener as much as a performer. The final movement nails in a little humor; the opening has that carful-of-clowns roll of staccato notes before it develops and returns to the opening theme and you think — at least when Gavrylyuk is performing — oh, darn, this is over.”
09 Dec 17Trio recital with Janine Jansen & Torleif Thedéen. Zankel Hall, New York
“This piece [Rachmaninov’s Trio élégiaque No. 2 in D Minor] was a bravura showcase particularly for Gavrylyuk, who dug into the ferocious, concerto-like piano part like a starving man who was just served a seven-course meal. He also brought poetic eloquence and a beautifully singing tone to the opening of the second movement, which is a set of variations on a theme from Rachmaninoff’s The Crag, his first orchestral work. One variation is a dazzling perpetuum mobile for piano (with pizzicato accompaniment), which Gavrylyuk tore through with bat-out-of-hell electricit … The solo piano introduction to the third movement seemed like a conscious homage to the Tchaikovsky violin concerto; soon after, another passage seemed to prefigure Rachmaninoff’s famous Prelude in C# minor.”
“I felt like I had been to a concert that had been minted for this occasion only. It had no apparent extra-musical strategy behind it. There weren’t even microphones there. And I wonder if that was a liberating factor in a performance that showed sides of Jansen I hadn’t encountered, and made me want to hear Garvylyuk and Thedéen in any possible future occasion. This was not polite chamber music making, or even with the pretensions of politeness. This was three soloists having at the music with 110 percent commitment and somehow triumphing over any potential balance issues, even with Garvyluyuk playing with the piano lid open … All three performances felt epic.”
02 Dec 17RachmaninovPiano Concerto No. 2 Adelaide Town Hall, Australia
” … the emotions really started to flow when Alexander Gavrylyuk took to the stage as soloist in the Rachmaninov. He has developed into a pianist of tremendous expressive range matched by a technique of comprehensive brilliance. There are many recordings of this work, beginning with the composer himself, but few to equal the sheer power of this performance. Gavrylyuk has always been technically superb; as he has matured he has penetrated deeper into the emotional core of the music, as illustrated by his beautiful playing of the slow movement. He was in full virtuoso mode though with his encore, the Liszt-Horowitz version of Mendelssohn’s Wedding March.”
25 Nov 17RachmaninovPiano Concerto No. 2 Perth Concert Hall, Australia
with the West Australian Symphony Orchestra & Asher Fisch.
“In my many years of attending WASO I don’t think I have ever seen a crowd as moved as it was on Saturday night. There were gasps between each movement; nearly everybody leapt to their feet at the conclusion of the Concerto, standing for four rounds of applause. Fisch and Gavrylyuk had such wonderful rapport. They gave each other space at the helm of the orchestra, navigating musical swells and storms calmly, authoritatively and humbly. At times they moved and gestured as if negotiating a temperamental beast; I couldn’t help but think of Daenerys, Mother of Dragons. For Fisch, the dragon was the big, fiery orchestra. For Gavrylyuk, the dragon was a nine-foot Steinway, which soared and thrashed and whispered beneath his fingertips in a brilliant display of virtuosity.”
20 Nov 17Solo Recital Sydney Recital Hall Piano Series
“[Gavrylyuk’s] Sydney recital was generous in its length and comprised familiar piano music, much of it calling for a stratospheric technique. This was always Gavrylyuk’s strength and it made him stand out from the crowd, but maturity has added the other side of the coin: playing pianissimo notes that can heard at the back of the hall, an ability shared with Horowitz … With only a piano at his disposal (albeit a wonderfully prepared Steinway Model D) he was able to infuse such colour into his playing that it took on an organ quality. In [Busoni’s transcription of Toccata and Fugue in D minor for organ], he also established his immense percussive power which he was able to call upon throughout the concert when something akin to an earthquake was required.”
“Pianist Alexander Gavrylyuk’s solo recital of transcribed Bach, Haydn, Chopin Scriabin and Rachmaninoff … was in the grand barnstorming tradition of steely fingered pianism. In Scriabin’s Sonata No. 5, Opus 53, he not only captured the manic even grotesque expressive extremes between which the work pivots but also set out the work’s structure with coherence and clarity. The finest pianistic art came in the bracket of six studies from Chopin’s Opus 10 where deft lightness belied consummate instrumental control.”
” … eschewing any trace of historically-informed-performance-practice imperative, Gavrylyuk gave a reading [of Haydn’s three movement Sonata in B minor] replete with elegantly shaped melodies, neatly executed ornaments, and, particularly in the lightning-fast finale, immaculately nimble finger-work … Gavrylyuk oscillated between [Rachmaninov’s Second Piano Sonata’s] abrupt volcanic eruptions of sonority and the more perfumed delicacy of its sustained, gently poetic moments. This is a work that has long been in Gavrylyuk’s repertoire, and he gave an impassioned reading, one that bore witness to the broad scope of his multi-hued tonal palette, and one made all the more interesting for his wont to highlight hidden counter-melodies. The sonata brought the official program to a barn-storming conclusion, inspiring the majority of the enthusiastic audience to its feet.”
performing works by Bach, Haydn, Chopin, Scriabin & Rachmaninov.
” … [Alexander Gavrylyuk’s] playing has a dynamic range that could not be reproduced on a recording, not to mention the sheer excitement of being in the presence of someone who is performing miracles … Gavrylyuk gave a seemingly effortless display of pianistic power of the most breathtaking kind. In contrast, Gavrylyuk’s encore, Rachmaninov’s Vocalise, was a ‘swoon’ moment of the purest romanticism.”
performing works by Bach, Haydn, Chopin, Scriabin & Rachmaninov.
“… the shock of the first item’s opening was palpable in the hall, Gavrylyuk galvanising sensibilities near and far with the opening of Feruccio Busoni’s transcription of JS Bach’s D Minor Toccata and Fugue BWV 565 … Gavrylyuk’s playing seemed to take us as far as was physically possible on the piano towards the sheer impact of the organ’s power and majesty … Gavrylyuk’s playing gave us ample sense of the music’s huge sonorities in pianistic terms, while achieving a transparency of articulation often clouded by the organ’s resonances. The pianist seemed to put all of his physical weight into the Prelude’s concluding chords, and hang onto the resulting resonances for dear life, keeping us transfixed by his and the music’s alchemic power … I thought the dynamic range employed by Gavrylyuk along the journey astonishing – thunderous footsteps set against sonorous whisperings, and a gamut of eloquence in between. The whole was built up to a peroration of extraordinary power and elaboration, concluding the work with huge, properly “crashing’ chords, whose lingering aftermath stunned our responses for some time to come … But with what explosive energies the music came to life with in Gavrylyuk’s hands once again – the pianist took the music’s raw power and flung it across the vistas, varying strength with dizzying dexterity in places, then, going with the work’s amazing all-encompassing variations of mood, again bringing out a more lyrical and ruminative sequence before returning to the attack – how much more this music is “conflicted” than Rachmaninov’s large-scale works of the previous decade, the Third Piano Concerto and the Second Symphony. Gavrylyuk took us through the conficts and agitations towards the grandeur of the work’s last few pages with the ardour of a foot soldier and the surety of a general. It was as stunning a display of all-encompassing musicianship as any I’ve ever had the good fortune to witness.”
13 Aug 17BBC PROM 37Rachmaninov Piano Concerto No.3 Royal Albert Hall
with Thomas Dausgaard & the BBC Scottish Symphony Orchestra.
“Alexander Gavrylyuk’s electrifying performance of Rachmaninov’s Third Piano Concerto at the BBC Proms … was a revelation. BBC Radio 3 and Channel 4 Television transmitted a truly grand musical occasion in which Gavrylyuk redefined the work’s dimensions as perhaps only the composer and Horovitz themselves managed. … Alexander Gavrylyuk is, easily, the most compelling pianist of his generation. As Schumann said of Chopin: “Hats off gentlemen, a genius.” … His love of Rachmaninov’s searing cantilena shone like a beacon, as it unfolded phrase by phrase, cadence by cadence, to crucial dramatic points. His pacing of motivic development and tempi rubato throughout revealed a deep understanding of the work’s elusive inner dialogue. From a palette of a thousand softs, he recalled the tenderness of: Sviatoslav Richter’s Schubertian caresses, of Ashkenazian thunder and lightning, and of the Argerich maelstrom. The 33-year old’s equally loving attention and mastery of sequential suspensions and fermata was, at all times, the result of a formidable intellectual grasp. I was struck most especially, by the soloist’s mesmeric handling of the opening movement’s longest cadence which builds for the most part, on an extended dominant pedal for the main cadenza. I was equally impressed by his mastery of Rachmaninov’s enraptured resolution of the main cadenza … It is refreshing to experience completely new interpretations of traditional masterpieces by a monumental master of the piano who is, also, modest (and not falsely so), who is unassuming and completely dedicated to his art.”
“Even in the short cadenza this Ukrainian-born Australian pianist maintained a ruminative eloquence, his warm tone blending perfectly with that of the orchestra. But the finale of this much-loved work requires a very different kind of pianism, and here too Gavrylyuk shone, digging furiously into the keyboard to galvanise an orchestra which was more than ready to be galvanised to create the barn-storming close. After which his encore – Rachmaninov’s exquisitely-turned arrangement of his Vocalise – brought us back to the initial mood of hushed benediction.” **** Michael Church, The Scotsman, 19 August 2017
“There was a strikingly collegiate approach between pianist and conductor … Here was a pianist in command of the music and the music in command of him. This Ukrainian pianist impressed by his fluid projection of the music’s quiet confidences and silvery tendrils … Gavrylyuk, in the second movement, astonished with his leisurely floating mayfly treatment before a taut finale, in which time and again the stopped horns leered atmospherically over the pianist’s statements. There was excitement and drama of course, and this washed over the audience, culminating in that final crashing wave. The applause was emphatic. Gavrylyuk gave an encore in the shape of a delicately chimed arrangement of Rachmaninov’s Vocalise.” Rob Barnett, Seen and Heard International, 16 August 2017
“Gavrylyuk’s ease with Rachmaninov’s passagework was startling. Technique is one thing, taste is another. His triplets and trills were pert and crisp, the dissolves from smiles to sadness, and the clarity and quietness were revelatory. The seven long seconds of silence after Gavrylyuk’s encore of the Vocalise were the greatest tribute any soloist could want at the Proms, but were surely shared with the orchestra, choir and Dausgaard.” ***** Anna Picard, The Times, 15 August 2017
” … there was plenty of fresh food in soloist Alexander Gavrylyuk’s singular take on “the Rach Three” … Gavrylyuk was mystically soft in that opening, only opening out to orchestral-style roars at key points as well as the leonine cadenza which so strikingly takes the place of a straight recap. His most individual facet was his Puckish wit, transcendentally sparkling, laugh-out loud in a scherzo glissando and mercurial in the high-wire acts of the finale.” David Nice, theartsdesk.com, 14 August 2017
“The piano’s opening phrases were entwined by a creeping bassoon line that crooned like a cantor. Gavrylyuk offered a delicate, reverent account, low on flash and glitter and the barnstorming decibels often heard in this repertoire staple. He often played on the sonorous tintinnabulations of Rachmaninov’s chords, while faster passages rippled with clarity.” **** Mark Pullinger, Bachtrack, 14 August 2017
25 May 17TchaikovskyPiano Concerto No. 1 Hamer Hall, Melbourne
with the Melbourne Symphony Orchestra & Bramwell Tovey.
“Piano Concerto No.1 combines Tchaikovsky’s well-known melodies with a complicated and challenging piano part. Alexander Gavrylyuk handled these with considerable technical skill from the flamboyant opening to the famously satisfying ending – all the while looking like he was devouring something delicious. The stillness and poise of both the orchestra and the conductor during some of the piano solos was astounding. Gavrylyuk finished his performance with a touching encore of Rachmaninoff’s Vocalise.” **** Andrea Gillum, Performing Arts Hub, 25 May 2017
03 May 17International Piano Series Solo Recital St. John's Smith Square, London
playing Bach/Busoni, Haydn, Chopin, Prokofiev, Rachmaninov, Balakirev.
“[Gavrylyuk’s] presence harks back to the old, formal Russian style of pianism – white tie and tails, impeccable stage manners, and plenty of old-fashioned performance histrionics – eyes gazing heavenwards, rapt expressions, the pianist as artwork – with playing that brings together grandeur, nobility, dazzling virtuosity and a sublime sense of style … Mustering a colossal range of dynamics so that the thundering pedal lines and whispering Fugue subject made maximum impact, Gavrylyuk’s playing carried all before it with unassailable conviction … There is a muscular delicacy to Gavrylyuk’s technique that strains for perfection of phrasing, dynamics and balance, and he was outstanding in the obsessive, frankly odd Finale [in Haydn’s B-minor Sonata], a sizzling masterclass in surprise and finely honed control … It made its mark, but Gavrylyuk’s selection of Rachmaninov’s Etudes-tableaux from Opus 39 best revealed his musical personality and sympathies, so that you could take for granted a technical accomplishment entirely at the disposal of this composer’s unique, melancholic voice … Gavrylyuk laid down the music’s layers with a care that crafted the character of each piece…” Peter Reed, Classical Source, 4 May 2017
“Haydn’s B minor Sonata is, even by his standards, one of his most daringly inventive, and Gavrylyuk was alive to its moments of extraordinary delicacy, the trills crystalline … Chopin’s F minor Fantasy certainly lived up to its name, with a freedom that was intensely personal, dynamics beautifully shaded; Gavrylyuk avoided waywardness through an injection of nobility. Chopin’s Polonaise, Op. 53, the so-called “Military”, can seem merely bombastic, but here the pianist emphasised its more lyrical qualities and the pounding middle section was all the better for not being overstated … Gavrylyuk ended the programme with Balakirev’s Islamey, enticingly shot through with beautiful shadings, its technical trickery lightly worn. The audience hungered for more, and he responded with a sensitive Chopin nocturne and — the icing on the cake — a dazzling account of the Liszt/Horowitz take on Mendelssohn’s Wedding March.” Harriet Smith, The Financial Times, 4 May 2017
26 Mar 17GershwinRhapsody in Blue Shanghai Oriental Art Center, Shanghai
with the Cincinnati Symphony Orchestra & Louis Langree.
“… how many pianists are there like Ukrainian-born Australian Alexander Gavrylyuk? The CSO may have personality in spades, but so does he, along with charisma. As the song goes, his style is simply ‘’s wonderful, ‘s marvelous’ … His playing in Rhapsody in Blue was muscular and fiery. The melodies sparkled, those driving rhythms were punched out with gusto and the sweeping glissandos dispatched with power and grace. Langrée brought cut-glass clarity to Gershwin’s kaleidoscope of orchestral color, precision to his fascinating rhythms and swing to those unforgettable tunes.” Rick Perdian, Seen and Heard International, 26 March 2017
12 Apr 17RachmaninovPiano Concerto No.3 Teatro Mayor, Bogota
with the Bogota Philharmonic Orchestra and Patrick Fourniller.
“From the opening bars of Rachmaninov’s Third Piano Concerto Thursday night, it was clear that conductor Patrick Fournillier, soloist Alexander Gavrylyuk and the Orquesta Filarmónica de Bogotá, Colombia’s leading orchestra and this year celebrating its 50th anniversary, were in total agreement about their approach: moderately fast, flowing organically, expressing the beauty and the drama as if they were deeply in love with Rachmaninov and would go with him anywhere. With their unusually expressive strings and outstanding first-chair winds, including amazing contributions from French horns, oboes and bassons, they put down smooth swathes of audiophile fabric for Gavrylyuk to respond to and reflect on with a similarly comfortable spontaneity which hit a sweet spot just before the end of the first cadenza and never looked back.
At the end, when the audience went wild, their excitement ratcheted up an additional notch when Gavrylyuk encored a almost obsessively engaged, hair-raising performance of Rachmaninov’s arrangement of Mendelssohn’s Wedding March in which all of the massive technical difficulties were reduced to child’s play, an offering of love itself studded like jewels with brief intimacies and heart-breaking colors.”
with the L’Orchestre national d’Île-de-France & Enrique Mazzola.
“… Mais passons rapidement au Concerto de Grieg. Comme d’habitude l’orchestre nous impressionne par sa puissance et le chef par son lyrisme. Impeccable de bout en bout il se dégage un souffle impressionnant de la partition. On retiendra surtout l’interprétation d’Alexander Gavrylyuk époustouflant soliste qui se donne entièrement au point d’en faire tomber ses lunettes. Sa prestation est à la fois impressionnante techniquement (incroyable, il nous est peu donné de voir une telle performance) que dans son jeu, juste et pertinent. Une claque, on ressort de ce concerto totalement séduit. On ne connaissait pas ce pianiste mais désormais nous retiendrons son nom… Sans surprise, encore une soirée réussie en compagnie de l’Orchestre national d’Île-de-France et une belle découverte avec Alexander Gavrylyuk.” Louis le Classique, 25 January 2017
06 Nov 16Solo Recital Concertgebouw, The Netherlands
“The miracle called Alexander Gavrylyuk…. what the world needs today…. Gavrylyuk performed magic… just as he did with his recital in Groningen that I heard earlier this week, just as he did playing the Chopin concerto with the Radio Filharmonisch Orchestra in the Robeco series, just as he did with his recent recitals with Janine Jansen…. Everything that he touches is of an extraordinary level, that can only be compared to the concerts of pianists like Horowitz, Michelangeli, Bolet and Cherkassky. We are so very lucky that this pianist is now living in the Netherlands and will perform in this country even more.” ***** Eric Schoones, Meesterpianisten, 09 November 2016
“Alexander Gavrylyuk was capable of filling the main hall of the Concertgebouw in Amsterdam in the master pianist series to the rafters. And deservedly, because not many musicians are so generous with their talent. And from that handful of people, only a very few have a talent like Gavrylyuk. The programme he played was marvellous. The tone was set with a highly romantic, rather than a highly baroque interpretation of Bach’s the Toccata & Fuga BWV 565, arranged by Ferruccio Busoni … Alexander Gavrylyuk is an innocent stage personality, of the playful, sincere kind, that we haven’t seen behind the piano anymore since Vladimir Ashkenazy. And exactly like him, he plays: bouncing on the piano stool of joy, he takes the most dangerous virtuoso hurdles with an incredible ease. Before the intermission, the public spontaneously cheered after a raging octaves race through the coda of Chopin’s Polonaise opus 53, that the pianist played with focus and seemingly ease. There was, apart from a few unwritten additions, during the whole, technically impossible demanding recital, not even one wrong note … not only the virtuosity, but also the growth potential of Gavrylyuk is huge. There are not many pianists who can send an audience home with such a satisfied feeling …” ***** Pianowereld, 09 November 2016
24 Oct 16TchaikovskyPiano Concerto No. 1 Orpheum Annex
with the Vancouver Symphony Orchestra & Bramwell Tovey.
” … the Vancouver Symphony season opener set Tchaikovsky’s First Piano Concerto up against Stravinsky’s Rite of Spring. Not that there was any announced competition, but the former did emerge as the clear winner. In fact, young Ukrainian/ Australian pianist Alexander Gavrylyuk combined with Maestro Bramwell Tovey for one of the most penetrating performances of this well-worn concerto that I have heard in years … While many performances of the Tchaikovsky concerto are driven by commanding pianism and sheer orchestral gusto, this one focused more on the inner psychological nerve-ends of the piece, and provided an engrossing narrative. This is not to suggest that Gavrylyuk’s pianism was anything other than magnetically commanding – he is well known for his remarkable virtuosity and Horowitz-like fire! – but the essential focus was on the makeup of the composer himself, as suspended in the comfortable extravagance of the Russian Imperial Court, sometimes finding peace, but only fleetingly so … For me, the story of the evening was Alexander Gavrylyuk.” Geoffrey Newman, Vancouver Classical Music, 24 September 2016
“A standing ovation was well deserved for pianist Alexander Gavrylyuk. The 32-year-old played Tchaikovsky’s monumental Piano Concerto No. 1 as if born to it. The power and passion was certainly there, as were the nuances and delicacy of phrasing so often missing in the presentation of this barn-burner showpiece. ” Entertainment Vancouver, 26 September 2016
“The Ukraine-born pianist came on-stage in the customary tails, but played Tchaikovsky’s fortissimo introduction as if he were dressed in a tight, white T-shirt, yelling “Stella!” That’s a compliment, by the way: it was a muscular, attention-getting, and masterful gambit. Later on, Gavrylyuk effected another odd transformation: between his round, close-cropped head and his enigmatic half-smile, he began to resemble Lewis Carroll’s Cheshire Cat—if that feline could play piano with an utterly winning mix of scientific control and stunt-pilot abandon.” Alexander Varty, The Georgia Straight, 26 September 2016
22 Sep 16Gergiev Festival Rotterdam Philharmonic Orchestra/ Valeriy Gergiev
with the Rotterdam Philharmonic Orchestra & Valeriy Gergiev.
“Last year the Gergiev festival programmed all the Rachmaninoff piano concerti on one day. This year, the festival programmed all Five piano concerti of Prokofiev, to whom this 21rst edition was dedicated. Prokofiev is prickly and far less cuddly than Rachmaninov is. But the energy that derives from his works will leave on one untouched (unmoved) and with Gergiev as a specialist and public’s favourite, the festival again was a huge success. The unexpected climax of this Saturdays piano marathon was piano concerto no. 2, that is known as technically one of the most challenging of the repertoire. For this concerto, the old master Toradze was flown in, who entered the stage as if he was looking for help by crossing the street. It did not seem to go easy, leaning on the piano, loosening up his fingers a couple of times, but his performance was sensational: the opening was of an alien beauty, daredevil jumps and mood swings. In the terrifying cadenza of the first movement, deafening brutal bashing chords were heard in an acoustic unique way, together with subtle lyricism and the toddling of elves. The young George Li raced with spotless technique through the roller-coaster of the First piano concerto. Alexander Gavrylyuk has the light-frantic flair that perfectly matches with Prokofiev and excelled in piano concerto 4 (for the left hand) and 5 …” **** Merlijn Kerkhof and Joep Stapel, NRC, September 2016
“In the honour of the 125th birthday of Sergei Prokofiev, the Gergiev festival was devoted entirely to his music. A remarkable part of the festival was that all 5 piano concerti of Prokofiev were programmed on one day in the main hall of de Doelen in Rotterdam, divided in an afternoon and an evening concert. The concerti were played by four master pianists together with the Rotterdam Philharmonic orchestra and Valery Gergiev … In the evening concert Alexander Gavrylyuk took the stage. He had the most heavy duty of all the 4 pianist: not only did he play two concerti on one evening, he also had to play the least accessible piano concerti of Prokofiev. The Fourth piano concerto in B flat for the left hand on its own cannot match the expressiveness of the Second and Third piano concerti. Gavrylyuk played it with slender lines and very accurately. The Fifth piano concerto in G is a bizarre composition with not much recognizable sounds. Especially the first movement seems to be a organized chaos, but fascinating is this concert for sure. The virtuoso Gavrylyuk also played this incredible difficult work sharp on the edge …” **** Christo Lelie, Trouw, September 2016
with the Chautauqua Symphony Orchestra & Rossen Milanov.
“This was Gavrylyuk’s show, and he did not disappoint. In the massive cadenza that closed the movement, Gavrylyuk hurled the requisite musical thunderbolts, but more surprisingly, he also made a lot of the deliciously Tristanesque irresolution of Rachmaninoff’s harmonies. … Gavrylyuk made the most of the tender solo part, which was full of an eerie, dreamy longing for an old Russia that was crumbling around the composer even as he was revising the work. It was the high point of the performance. The pianist skipped through the frolicsome Allegro vivace finale with light-footed ebullience, but he was most persuasive in the sighing slower passages. In this most Tchaikovskian of Rachmaninoff’s concertos, Gavrylyuk summoned Chopin instead.” John Chacona, The Chautauquan Daily, 25 July 2016
12 Jun 16Solo recital Conservatorium Theatre, Brisbane Australia
“Gavrylyuk wallowed in Schubert’s elegance and lyricism. And in voicing the textures a lovely clarity pervaded. Yet his restraint in the first movement was almost unbearable, like being locked in a beautifully appointed yet stuffy room. The biggest dynamic surfaced in the second movement and those buoyant, scalic passages powering up and down the keys in the third, hinted at the blistering virtuosity ahead.” ***** Gillian Wills, Limelight Magazine, 14 June 2016
06 Jun 16Solo recital: 06 June 2016 Melbourne Recital Centre, Melbourne Australia
“Ukrainian born Australian pianist Alexander Gavrylyuk, a brilliant technician, takes on some of the most finger-twisting, shoulder-crunching marvels of the piano repertoire and stuns with his agility across the keyboard, his ferocity generating irresistible deluges of sound, an underpinning urgency that can make his interpretations authoritative and novel.” **** Clive O’Connell, The Sydney Morning Herald, 07 June 2016
04 Jun 16RachmaninovPiano Concerto No.1 Adelaide Symphony Orchestra/Alexandre Bloch
with the Adelaide Symphony Orchestra & Alexandre Bloch.
” … an emotion-charged performance of Rachmaninov’s Piano Concerto No.1 by virtuoso Alexander Gavrylyuk. The large audience was thrilled by his outstanding technique and evocative interpretation. Frequently throughout the concerto Gavrylyuk and Bloch intently locked each other’s gaze and exchanged whatever it is that exceptional musicians intuitively share when creating music together. Gavrylyuk beautifully executed Rachmaninov’s extremes: moments of great delicacy and lilting melody were contrasted with athletic displays of intensely vehement romanticism.” Kim Clayton, The Barefoot Review, 4 June 2016
30 May 16Solo recital Adelaide Festival Centre, Adelaide Australia
“Whatever he does, the heart is on the sleeve as he carries his listeners through a romantic whirlpool of emotions from understated regret to fire-breathing vengeance and these were often juxtaposed within the same work in five of Rachmaninov’s Études-Tableaux which were preceded by Prokofiev’s eight-minute Sonata no 3. Gritty and mellow by turns Gavrylyuk showed the romantic side of Prokofiev and the modernist side of Rachmaninov, pausing only briefly between numbers.” Rodney Smith, The Advertiser, 31 May 2016
21 May 16Solo recital Memorial Hall, Waikanae New Zealand
“The opening C-sharp of the sonata was here sounded by Gavrylyuk with the greatest of significance, as if a world of its own, one which briefly resonated and “coloured” our sensibilities before activating a gentle updraught on which the phrase took wing, and flowed with that same sense of wonderment into the music’s opening paragraph. And the repeat occasioned an expression on the pianist’s face of such joy in anticipation, we listeners couldn’t help but be infused with something of the same feeling.” Peter Mechen, Middle C, 22 May 2016
14 May 16Theme and Variations solo recital Willoughby
“While there are many valid opinions as to who is the best classical pianist in the world, you do know when you’re in the presence of a contender. That was how I felt after hearing Alexander Gavrylyuk in recital at the Theme & Variations Foundation fundraiser last night … Seated at a Steinway model D concert grand, and surrounded by pianos of all shapes and sizes, Gavrylyuk’s performance was simply astonishing, emphasising how recent years have augmented his technique and depth of musical interpretation.” Fraser Beath McEwing, J-Wire, 15 May 2016
18 Mar 16RachmaninovPiano Concert No.3 Orchestre Philharmonique de Strasbourg/Xian Zhang
with the Orchestre Philharmonique de Strasbourg & Xian Zhang.
“Gavrylyuk semble fait pour ce concerto comme celui-ci semble fait pour lui. Un tel engagement physique et émotionnel, une telle attention portée sur chaque note, paraîtraient exagérés, voire comiques, si on y décelait aussi une once de vulgarité ; heureusement il n’est est rien, tant la sensibilité extravertie du jeune russe force l’adhésion.” Samuel Aznar, Bachtrack, 21 March 2016
“A dream matchup of Janine Jansen with Alexander Gavrylyuk spoiled the audience at the Concertgebouw in this must-hear collaboration … At the top of their game, this duo evolved into a spectacular symbiotic musical organism … In Prokofiev’s Violin Sonata No. 2 in D Major, Gavrylyuk took over the spotlight and demonstrated his pianistic wizardry. Initially written for flute and piano, David Oistrakh later requested a version for violin. With his fast runs, rolling momentum, and addictive pulse, Gavrylyuk’s craftsmanship impressed. His infectious optimism energised the upbeat opening Moderato. When he applied the pedal in powerful passages, his effect was elegantly nuanced. In the Andante, Gavrylyuk elucidated the Soviet’s jazzy vibes. Through his exhilarating virtuosity, the pianist got the most out this Prokofiev. The thrilling ballet-esque passages provided highpoints of the evening. In a musical dance, Mr. Gavrylyuk led Ms. Jansen through Prokofiev’s freewheeling currents, tempestuous clashes, and rollicking rhythms. In the final movement, their symbiosis culminated in electrifying intensity. Gavrylyuk’s youthful enthusiasm even elicited a few caprioles from Ms. Jansen. Prokofiev’s music doesn’t quickly sweep you off your feet, but with this chemistry it was impossible for the audience not to get carried away.”
“[Gavrilioek’s] toon, warm en kleurrijk, voegde zich prachtig onder de zinderende klanken van Janine Jansen. Samen realiseerden zij een indrukwekkende vertolking van deze fameuze sonate … In de impressionistische klanken van de Drie Mythes, opus 30 van Karol Szymanowski kwamen Jansen en Gavrilioek tot samespel op het hoogst denkbare niveau. Jansens flageoletten zweefden ijl door de zaal en Gavrilioek legde zijn feeërieke klanken eronder. In de derde Mythe lieten beide musici de halfgod Pan doldriest achter Dryaden aan rennen, als het ware dwars door de Grote Zaal … Na dit fascinerende, mythische klankenspel werden de luisteraars met beide benen op de concertzaalvloer gezet, in de frisse vioolbewerking die Prokofjev van zijn Fluitsonate opus 94 maakte. De speelvreugde spatte ervan af …” **** Christo Lelie, Trouw, 10 March 2016
“Pianist Alexander Gavrylyuk was a dynamic presence on stage, both musically and physically … He mustered enormous power from the piano’s lower register in the cadenzas, often bouncing on his stool as if on springs, but elsewhere played with a pleasing lightness of touch and sensitivity to the orchestra … The slow movement, widely spaced and airily dreamy, found attractive moments of light in its central passages, where Gavrylyuk produced resolute optimism amid the duskier hues of the orchestral accompaniment and elegantly handled horn solos. The brooding angst continued into the finale, where the minimally sentimental first appearance of the flute theme, though attractively played, did little to dispel the mood of Gavrylyuk’s thunderous solos.” Rohan Shotton, Back Track, 19 February 2016
03 Mar 16RachmaninovPiano Concerto No. 3 Gothenburg Symphony Orchestra/Alexander Shelley
with the Gothenburg Symphony Orchestra & Alexander Shelley.
“En underbar avslutning på en konsertkväll som redan var fulländad med ett strålande framförande av Rachmaninovs tredje pianokonsert med Alexander Gavrylyuk som solist. Hur han tar sig an denna svårspelade best med både enorm skicklighet och bultande känslighet är fenomenalt. Han torkar svetten från pannan med en näsduk mellan varven, tar sats och kastar sig återigen över tangenterna – han spelar allt från minnet – och att följa med honom på resan är en rafflande upplevelse. Finalsatsen är som ett segertåg, ljudet av att springa nerför en brant backe utan att kunna eller vilja bromsa.” Nicholas Ringskog Ferrada-Noli, Dagens Nyheter, 07 March 2016
06 Jan 16TchaikovskyPiano Concerto No. 1 in B-flat minor Lincoln Centre
with the Cincinnati Symphony Orchestra & Louis Langrée.
“… it was a performance that dazzled. The pianist tossed off treacherous double octave passages, smiling as he did so. But he also played with considerable nuance in the softer moments, throwing back his head as he lingered on Tchaikovsky’s romantic melodies. The slow movement, in which the pianist traded phrases with orchestral soloists, was ravishingly played. He tackled the virtuosities of the finale with lightning speed.” Janelle Gelfand, Cincinnati.com (USA Today network), 7 January 2016
“Mr. Gavrylyuk brought muscular virtuosity to the challenging concerto. During some passages, he went for steely tone and uninhibited power, especially bursts of arm-blurring octaves. When called for, he played with subdued delicacy and scurrying lightness. The finale had whiplash crackle, like a breathless Russian dance. Mr. Langrée and the players ably followed Mr. Gavrylyuk’s shifts of mood and tempo.” Anthony Tommasini, New York Times, 7 January 2016
with the Rotterdam Philharmonic Orchestra & Valery Gergiev.
“From start to finish the playing of the Ukranian pianist held the public spellbound, gradually building up the tension and eventually generating enough energy to light up the whole of Rotterdam, harbor included… this was phenomenal, totally compelling playing, lucid and subtle, ready to take a place among the legendary accounts of Rachmaninoff’s Third.” Marc Haegeman, Classical Net, September 2015
02 Jul 15RachmaninovRhapsody On A Theme Of Paganini Chautauqua Symphony Orchestra/Rossen Milanov
with the Chautauqua Symphony Orchestra & Rossen Milanov.
“The distinctive qualities of Gavrylyuk’s thrilling gifts were amply in evidence: dazzling technique wedded to sensitive musicianship. I have attended many performances of this warhorse, but never one more engaging, further enhanced by Milanov’s alert accompaniment. The standing ovation that erupted at the end fell into the spontaneous rather than obligatory category, and deservedly so. The audience was rewarded with the mind-blowing virtuosity of Felix Mendelssohn’s “Wedding March” from the incidental music to A Midsummer Night’s Dream as arranged by Franz Liszt, and then made even more dazzlingly difficult by Vladimir Horowitz. One rarely hears such electrifying pianistic display — no wonder we all await Gavrylyuk’s return each summer.” Christopher H Gibbs, The Chautauquan Daily
“Alexander Gavrylyuk is one of the greatest discoveries of the past decade. Every time he enchants the public with his incredible virtuosity and suggestive playing.This time he took the listener on an adventurous journey through time, from Mozart and Schubert via Liszt and Chopin to the dark world of Prokofiev … In his interpretation of Schuberts Sonate D 664 it strikes most how he is able to constantly carry out a light tone and how deep the emotions go. He shows that underneath seemingly cheerful sounds, there is an intense melancholy hidden, that is even more poignant when operating in a cheerful, sunny environment. Gavrylyuk matches the colours of his pallet exactly with the music he is playing. The colour scheme changes at the transition from Mozart to Schubert and from Schubert to Liszt. The paint is as it were thicker, the contrasts greater. Liszt’s Consolation no. 3 will have never sounded so intense. For this pianist, no flying trapeze will go too high. The acrobatic side of his mastership is heard in Liszts transcription of Danse macabre of Saint-Saëns, in which Horowitz on his turn changed the triple salto’s into fourfolds (salto’s). In all astonishing stunts, Gavrylyuk miraculously seems to have his both hands free to give the macabre character of this dance of death the sharpest possible profile … According to legend, Prokofiev had biceps of steel. And you can hear that! Gavrylyuk reveals in the extreme dynamics playfully all aspects of this “war Sonata”: unapproachable and ghostly alienating, but also lyrical, albeit with distressing undertones. In the first encore he plays Rachmaninov with a deep (profound) interpretation of Moment musical opus 16, no. 3. After this, he shows again both sides of his mastership: the devils’ magician in Liszts transcription of Mendelssohns Wedding march (by Horowitz again enriched with extra fireworks) and the subtle sound magician in Schumanns Träumerei.” ***** Eddie Vetter, De Telegraaf
15 May 15MozartPiano Concerto No.21 BBC Scottish Symphony Orchestra/Markus Stenz
with the BBC Scottish Symphony Orchestra & Markus Stenz.
“Gavrylyuk’s interpretation of Mozart’s K467 Piano Concerto delved deep into the ambiguity of the piece, probing near-subversive levels of expression: thought-provoking playing here, way beyond the norm.” ***** Michael Tumelty, Herald Scotland
“Gavrylyuk hat sich differenziertere Worte verdient, und das geht nur über die Klangbilder, die er dem strahlenden Flügel entlockte – das Staunen über seine Technik muss daher zwischen den Zeilen Platz finden. Vielleicht genügt der Hinweis, dass die Entfesselung all seiner Energien auch nicht für eine Sekunde in den Verdacht geriet, an Kraftmeierei zu grenzen. Vielmehr stellte sich mit diesem Debüt ein Künstler vor, der den musikalischen Sinn noch der übersteigertsten Tondichte zu vermitteln weiß. Die halsbrecherischen Variationen über ein Thema von Paganini von Johannes Brahms wirkten daher nicht wie die Demonstration wahnwitziger Fingerspiele, sondern als Folge markanter Charaktere, wobei der Pianist trotz größter Geschwindigkeit stets die gestalterische Kontrolle behielt. Und dies sowohl in der Linie als auch in der Vertikalen. Diese Durchdringung der Harmonik, das Austarieren von Akkorden und ihrer Beziehungen, ist vielleicht eine der gefährdetsten pianistischen Tugenden. Dass Gavrylyuk darüber in hohem Maß verfügt, zeigten auch sechs Stücke von Franz Liszt in der zweiten Programmhälfte: drei davon Bearbeitungen, womit auch eine Klammer zu Brahms’ Paganini-Kommentaren geschaffen wurde. Wie er etwa im Mephisto-Walzer Nr. 1 (Der Tanz in der Dorfschenke) den Harmonien Gestalt verlieh, erinnerte an Skulpturen. Mühelos verband der Musiker dabei hurtiges Figurenwerk mit dem Aufzeigen tieferer Schichten, formaler und tonaler Zusammenhänge. Und wie er zweimal Chopin als Zugabe spielte, demonstrierte Gavrylyuk in herrlichem Ausmaß Legato, Phrasierung, Spannung. Den Namen des 34-Jährigen wird man sich merken müssen – womöglich reicht der Mozart-Saal das nächste Mal schon nicht mehr aus.” Daniel Ender, Der Standard
02 Dec 14TchaikovskyPiano Concerto No.1 Cincinnati Symphony Orchestra/Louis Langrée
with the Cincinnati Symphony Orchestra & Louis Langrée.
“The program opened with Piano Concerto No. 1 in B-flat Minor, with Ukrainian-born pianist Alexander Gavrylyuk as soloist. To say that Gavrylyuk wowed in his debut would be an understatement. The 30-year-old phenom, who has won gold in both the Horowitz and the Rubinstein piano competitions, possesses astonishing technical ability. His hands were a blur in fiendishly difficult double octave passages, yet he smiled through it all, seeming to relish the challenge. Gavrylyuk’s tone was big, sonorous and never harsh. His phrasing was nuanced in lyrical moments between the pyrotechnics, and he sometimes threw back his head to savor a moment. In the slow movement, his touch was delicate as orchestral soloists traded Tchaikovsky’s ravishing theme. The finale was high-voltage, and Gavrylyuk tackled its final bursts of virtuosities with lightning speed. For an encore, Gavrylyuk dazzled again with a piano transcription of Mendelssohn’s Wedding March, by two dazzlers of the past: Liszt and Vladimir Horowitz.” Janelle Gelfand, Cincinnati.com
“A phenomenal pianist made his debut with the Cincinnati Symphony Orchestra Friday night at Music Hall, Alexander Gavrylyuk. The dramatic chords and stirring melody with which the Concerto begins set the tone for a performance that was precise and well defined, without losing any of its emotional impact. Gavrylyuk, winner of a number of important international competitions, produced a tone that was closely in tune with the work’s vast range of expression, whether full, lush and ringing, or pearly and gentle. As for virtuosity, all one could saw was “Wow.” The finale, Allegro con fuoco, began with dance rhythms, given lusty expression by Gavrylyuk, and built excitedly to the movement’s rhapsodic, “big” theme. Again, Gavrylyuk, the owner of a fabulous technique, played with precise definition in the service of full expression. Joined by Langrée and the CSO in a full-bore final statement of the rhapsodic theme, the Concerto filled every crevice of Music Hall. Gavrylyuk, who inspired a huge ovation, obliged with an encore, the wedding march from Mendelssohn’s “Midsummer Night’s Dream,” transcribed into a virtuoso showpiece by Vladimir Horowitz. There were more “Wows” throughout the hall.” Mary Ellyn Hutton, Music in Cincinnati
22 Nov 14RachmaninovRhapsody On A Theme Of Paganini Popejoy Hall
with the New Mexico Symphony Orchestra & Oriol Sans.
“Gavrylyuk’s sense of lyricism was matched by an immaculate technique … The Ukrainian pianist gave us as encore the Liszt/Horowitz adaptation of Mendelssohn’s Wedding March. Quite an amazing exhibition of piano mastery even exceeding the Rachmaninoff in pure dexterity, the notes rolling off his hands faster than the eye could catch. This was a performance not to be missed.” DS Crafts, ABQ Journal
05 Oct 14RachmaninovPiano Concerto No.2 Concertgebouworkest/Michael Schonwandt
with the Concertgebouworkest & Michael Schonwandt.
“The Ukrainian’s sensitivity and unaffected joy contributed to his phenomenal execution. In the Moderato he impressed in the many virtuoso passages, avoiding the pitfalls leading often to cinematic melodrama that can result from Rachmaninov’s melancholy. His sensitivity was felt during the duet with the oboe, and later too during the romancing of the clarinet in the Adagio sostenuto. His subtle use of the pedal heightened the finesse of Rachmaninov’s romance. In the final movement Allegro scherzando the horns offered rich playing. Gavrylyuk’s sheer delight behind the piano was a joy to behold. As an encore, he soothed his audience with an affectionate rendition Schumann’s Kinderszenen.” David Pinedo, BachTrack.com
30 Apr 14Mussorgsky & SchumannPICTURES AT AN EXHIBITION & KINDERSZENEN Piano Classics CD
“Une excellente intégrale des concertos de Prokofiev (avec Ashkenazy chez Triton Hybrid) et un non moins remarquable récital (Prokofiev, Rachmaninov et Scriabine pour Piano Classics) nous ont convaincu de la personnalité de ce pianiste, qui utilise avec beaucoup d’intelligence des moyens techniques superlatifs. Ses Tableaux d’une exposition sont « justes ». C’est-à-dire que les climats s’imbriquent avec logique, que les contrastes et les couleurs ne cherchent pas l’originalité à tout prix, mais préservent le caractère instinctif de l’écriture. Alexander Gavrylyuk possède un abattage certain, mais aussi un sens de la grandeur dans la manière de plaquer les accords sans les casser. L’utilisation de la pédale est aussi très astucieuse, favorisant telle ou telle voix (Il vecchio castello). Enfin, et surtout, le toucher est particulièrement varié, capable d’une extrême finesse, presque d’un maniérisme voulu dans les Tuileries et d’une percussivité hargneuse dans Baba-Yaga.Parmi les nombreuses et récentes versions des Tableaux, voici l’une des lectures les plus abouties et personnelles. À la suite de Moussorgski, les Scènes d’enfants de Schumann prennent une signification étrange. Deux univers radicalement différents, mais dans lesquels Alexander Gavrylyuk joue d’une pâte sonore comparable au service d’une belle narration. C’est raffiné et en même temps très bien tenu. Le phrasé est subtilement pensé (Hasche-Mann, Glückes genug…). Une fois encore, la franchise du jeu, la beauté des timbres du piano emportent l’adhésion. Un pianiste avec lequel il faut désormais compter.” Stéphane Friédérich, Pianiste, 30 April 2014
29 Apr 14Mussorgsky & SchumannPictures at an Exhibition & Kinderszenen Piano Classics CD
“Alexander Gavrylyuk is a unique artist, who, in a never ending quest for artistic purity and truth, is simply not capable of playing anything devoid of profound musical feeling. He is equally at home with the great epic concerti by Rachmaninoff, Tchaikovsky and Prokofiev or the transcendent pyrotechnic virtuoso repertoire, as he is with Mozart and Schubert. His last CD, recorded November 2013, is a real treasure … Who needs the orchestra, who needs extra notes to brighten up the score? To describe all the magical insights Gavrylyuk brings to every page of this piece is impossible in a short review, so best listen for yourself. You may think you know this piece by now, I can assure you, you don’t until you hear this CD. Coupling Mussorgsky, painted al fresco in large symphonic gestures, with Schumann’s delicate and intimate Kinderszenen may seems unlikely, but Gavrylyuk lifts Schumann’s miniatures from Biedermeier bonds. As in Kind im Einschlummern the child is dozing off, the pianist opens the window, probing the all compassing universe.” Eric Shoones, International Piano Magazine
16 Apr 14RachmaninovComplete Piano Concerti Vancouver Symphony Orchestra/Bramwell Tovey
with the Vancouver Symphony Orchestra & Bramwell Tovey.
“The modest and unassuming Alexander Gavrylyuk, a pianist who can clearly bring the house down with his virtuosity and phenomenal Horowitz-like weight and fire … That Alexander Gavrylyuk’s playing is quite magnetic goes without saying; there was nothing remotely routine about any of his interpretations and, quite frankly, there wasn’t even a single note or phrase that didn’t hold my interest … One remarkable thing about this playing is that it actually can convey the feeling of the composer literally out of control at points — tumbling down into some vortex, or trapped in an almost surreal reverie, or propelled by an almost giddy and quite unstable enthusiasm or release … I can safely say that, just witnessing Alexander Gavrylyuk’s clean sense of line and texture, and obvious sensitivity and imagination, one could hardly help but be impressed. But when one combines this with his visceral energy and his almost demonic white-heat virtuosity, I can safely say that it would be almost impossible for anyone to go home from this festival other than somewhat entranced.” Geoffrey Newman, Vancouver Classical Music
“Now just 30 years of age, Gavrylyuk is knocking on the door of a small room in which sit the world’s best pianists. His Recital Hall concert was nothing short of superlative, combining blistering technique with a deep understanding of what the music is saying to its listeners. To that you can add the magic ingredient of stage presence – a feeling that Gavrylyuk is taking you on a musical journey for the first time even though you thought you were familiar with the pieces.” Fraser Beath McEwing, J-Wire
“His recital-closing performance of the Prokofiev sixth sonata was equally fine. Incisiveattack and pounding percussive passages irresistibly propelled the powerhouse outer movements with ferocious intensity and motoric energy. Glinting, hard-edged sonorities and biting rhythms captured the astringent lyricism and sardonic quirkiness of the inner movements.” Murray Black, The Australian
04 Mar 14ProkofievPiano Concerto No.3 Borusan Istanbul Philharmonic Orchestra/Sascha Goetzel
with the Borusan Istanbul Philharmonic Orchestra & Sascha Goetzel.
“Gavrylyuk’s spitfire prowess at the keyboard for not only the concerto, but his encore of the Liszt-Horowitz arrangement of Beethoven’s “Turkish March,” particularly, was almost overwhelmingly dazzling.” Cihan News
03 Mar 14RachmaninovPiano Concerto No.1 Auckland Town Hall
with the Auckland Philharmonia & Eckehard Stier.
“Alexander Gavrylyuk is a formidable pianist and he tackled Rachmaninov’s First Concerto with absolute authority. The soloist calls the shots here, inspiring the orchestra with fearless octaves and splashes of virtuosity. Gavrylyuk’s strength is that he seems to find an implied narrative in this score; one felt stories were being told while, around him, the orchestra created great waves of passion. Delicate solo work for individual players enabled them to enjoy the intimacy of chamber music with the Ukrainian pianist.” William Dart, The New Zealand Herald
17 Feb 14RachmaninovRhapsody On A Theme Of Paganini
with the Adelaide Symphony Orchestra & Garry Walker.
“Due to his sheer force of musicianship, the evening belonged mostly to Alexander Gavrylyuk, soloist in Rachmaninov’s Rhapsody on a Theme of Paganini. He is a beguiling pianist, able to find the simplest musical truth behind even the most staggeringly virtuosic torrent of notes. His Rachmaninov, astutely concise rather than grandiloquent, and remarkable in its range of contrast between variations, gleamed with clarity.” Graham Strahle, The Australian
28 Nov 13RachmaninovRhapsody on a Theme of Paganini Bournemouth Symphony Orchestra/Carlo Rizzi
with the Bournemouth Symphony Orchestra & Carlo Rizzi.
“The highlight of the evening was witnessing the piano wizard, Alexander Gavrylyuk touch the very soul of the Rachmaninov masterpiece, ‘Rhapsody on a Theme of Paganini’. The composer himself would have surely been left mouth agape at the passion this young, award-winning man displayed, as he poured his very heart into the performance. Stroking the piano keys with reverence he seemed in prayer; then as the piece took off, his fingers flew. Without a score sheet for reference, Gavrylyuk played to perfection; his love for this emotional masterpiece evident.” Tanya March, DoMore
13 Oct 13Solo Recital Aula de l'Université, Fribourg
“Sonntagabend in der Aula der Universität Miséricorde: Die Konzertbesucher erheben sich explosionsartig, ungewohnt viele Bravorufe geben der ungestümen Begeisterung des Publikums Ausdruck. Eben erst hat der ukrainische Pianist Alexander Gavrylyuk die umwerfend virtuose und humorvolle Bearbeitung des Hochzeitsmarsches von Felix Mendelssohn durch Liszt und Horowitz mit kraftvollem Klang, mit schier unglaublicher Virtuosität, aber auch mit Witz und erlesener Anschlagskultur in die Tasten gesetzt. Und mit Mozarts Rondo D-Dur, KV 485, beendet der Pianist den Klavierabend, mit ungebrochener Spiellust, warm, innig, elegant. Ein Pianist, der mit seinem Temperament, seiner Spielfreude, seinen schier unerschöpflichen pianistischen Möglichkeiten das wache Publikum verzaubert…Wie unterschiedlich die «Kinderszenen» von Robert Schumann interpretiert werden können! Alexander Gavrylyuk lässt die Musik Schumanns als romantische Musik erklingen, gestaltet etwa «Glückes genug» oder die «Träumerei» ausserordentlich persönlich, agogisch frei, fast improvisierend, meisselt Nebenstimmen heraus. Zu viel Subjektivität, zu wenig Schlichtheit? Ein spannender, herausfordernder, fantastischer Klavierabend mit einem ausserordentlichen Pianisten, mit einem intensiv und leidenschaftlich gestaltenden Musiker!” Hubert Reidy, Freiburger Nachrichten
with the Chautauqua Symphony Orchestra & Elizabeth Schulze.
“He sailed through the concerto’s manifold challenges in a reading that crackled with urgency and never felt slack … Gavrylyuk delivered a taut, committed performance in which every phrase mattered. Those phrases were typically long-breathed in Gavrylyuk’s hands, but they were also shrewdly balanced to make poetic sense yet never lingered over the beautiful details that are everywhere … Gavrylyuk was an orchestra unto himself, pouring out waves of huge, carillon-like sound … This was a sensational performance in every way. When the audience leapt to their feet before the final note died away, one could almost imagine them reaching for their lighters in the gesture of stadium concert approval; the moment was that electrifying.” John Chacona, Erie Times News
with the Orchestre de la Suisse Romande & Neeme Järvi.
“Le jeune Ukrainien est un extraterrestre du clavier. Un phénomène de 29 ans seulement, dont 22 passés devant les touches noires et blanches. Autant dire qu’Alexandre Gavrylyuk joue du piano comme il respire. Depuis son premier concert à l’âge de 9 ans, il dévore le répertoire le plus virtuose, et se consacre particulièrement aux compositeurs les plus «digitaux» de son pays: Scriabine, Prokofiev ou Rachmaninov notamment. Du dernier, donc, à l’issue de l’ultime concert du cycle genevois, il a enchaîné lundi soir le fameux 2e Concerto et la Rhapsodie sur un thème de Paganini. Des doigts plein les mains, une énergie du diable et une attitude spectaculaire que Tex Avery ne renierait pas: Alexander Gavrylyuk a enflammé le Victoria Hall bondé, en clôturant le petit festival qui n’était pourtant pas gagné d’avance. Son incroyable talent, assez extravagant a déchaîné les passions. Comme un Horowitz ou un Rubinstein avant lui (en moins dandy, cabotin ou insolent d’élégance), ce musicien fait crier le public de joie. On ne le lui reprochera pas! Exploit ou performance, qu’importe. Les auditeurs ressortent fourbus de ses concerts, où il délivre tant de notes avec tant d’engagement, qu’il en devient irrésistible.” Sylvie Bonier, Tribune du Genève
“Alexander Gavrylyuk wowed Wigmore Hall’s lunchtime audience with a debut concert replete in masterful displays of pianism, in the purest meaning of the word … Gavrylyuk demonstrated immense command, pianistic colour, dynamic range, dazzling technical assuredness, conviction, musical personality, and a deep understanding of this music [Mussorgsky – Pictures at an Exhibition]. Even in the loudest passages, he never lost the ability to produce a magnificent sound. The audience was on its feet cheering before the final chord had cleared.” ***** Frances Wilson, bachtrack.com
“Gavrylyuk’s interpretation of Mussorgsky’s ubiquitous showpiece was not for the faint-hearted, revealing in startling Technicolor the forward-looking aspects of the musical language. Although it was a performance of extremes, Gavrylyuk’s choices of dynamics and tempo were properly informed and stunningly delivered. It was clear from his body-language that he was living every note, with many shapes and expressions born from total involvement in the music.” Ben Hogwood, ClassicalSource.com
with the Royal Concertgebouworkest & Vladimir Jurowski.
“All attention went to the 28-year old wonder pianist Alexander Gavrylyuk…The diabolical sprint of orchestra and soloist at the end of the concert was breath taking.When playing the encore, Mendelssohn’s wedding March, Gavrylyuk blew the listening orchestra almost off the stage….” **** Floris Don, NRC Handelsblad
“Alexander Gavrylyuk (Ukraine, 1984) belongs to the very rare category of musicians whose possibilities could only be limited by taste and contextual interpretation. Technically, he can do anything. In Rachmaninov’s Third piano concerto, he showed how one note, warm and full, can float above the orchestra, in a state of natural free fall.” Biëlla Luttmer, De Volkskrant
15 Mar 13RachmaninovPiano Concerto No.3 Popejoy Hall
with New Mexico Philharmonic & Hélène Bouchez.
“The initial approach to the Allegro was light and lyrical, even impressionistic, making the eruption in the middle – and explode it did – all the more dramatically arresting. The Ukranian pianist chose the original massive-chordal cadenza, rather than the more scherzo-like revision which Rachmaninoff himself recorded. Gavrylyuk has technique to spare producing voluminous cascades of sound too fast to be heard as individual notes but felt only as gossamer swirls of aural color, growing light and dark with harmonic and dynamic shifts. The Finale: Alla breve sparkled in its Mendelssohn-like fairy figurations in the highest piano register, then soared with striking and distinctive melody which is uniquely Rachmaninoff. Not just a show of phenomenal virtuosity and confidence; Gavrylyuk’s playing clearly delineated the spacious and richly-varied design throughout. An immediate and shouting standing ovation was the only possible response. As if that were not enough, Gavrylyuk returned for an encore, the Liszt/Horowitz adaptation of Mendelssohn’s Wedding March, a bravura bon bon of the first order. In lieu of a review, one is tempted to submit simply a huge, bold exclamation mark.” D.S. Crafts, ABQ Journal
18 Feb 13Solo Recital Melbourne Arts Centre, Melbourne
“Bach’s Italian Concerto was given spacious treatment, its middle andante an essay in restraint with no urging at its two dramatic pedal-point climaxes, while the rapid finale preserved its jubilation along with a welcome clarity of texture and an unashamed variety of articulation and timbre employing the piano’s resources with intelligent musicianship. What brought the ready-to-be-appreciative house to its feet was a white-hot reading of Mussorgsky’s Pictures at an Exhibition, packed to the brim with interest from the opening personality-full Promenade, through a menacing Bydlo and benchmark vision of Samuel Goldenberg and Schmuyle, the suite climaxing with a sumptuous, pounding The Great Gate of Kiev. For my money, Gavrylyuk showed at his best in Schumann’s C-minor Fantasie, one of those rare delights where interpreter and music are in absolute synchronicity. This young pianist’s grasp of Schumann’s triptych of canvases was enriching.” Clive O’Connell, The Age
“Gavrylyuk is a concert pianist in the traditional sense. A pianist who thrills the audience with a dazzling display of technique, yet can infuse his playing with deep sensibility and understanding of the composer’s soul.” Suzanne Yanko, Arts Hub
06 Feb 11GriegPiano Concerto No.3 Royal Scottish National Orchestra/Andrey Boreyko
with the Royal Scottish National Orchestra & Andrey Boreyko.
“Soloist Alexander Gavrylyuk gave an intelligent and stylish reading of this unconventional concerto where the pianist’s contributions are largely part of the overall orchestral texture. However, Gavrylyuk knew precisely when to sparkle, delivering zippy glissandi in the variations and beautifully capturing the clownish character of the quirky first movement.” news.scotsman.com
09 Sep 10TchaikovskyPiano Concerto No.2 Hollywood Bowl
with the Los Angeles Philharmonic & Bramwell Tovey.
“Gavrylyuk was on fire in the huge first movement’s three cadenzas – eating up those octaves, the scales burning with visceral power – while drawing a wide variety of clearly articulated color elsewhere. Wow the crowd Gavrylyuk did.” Richard S.Ginell, Los Angeles Times
26 Apr 10Solo Recital Melbourne Arts Centre, Melbourne
“In Gavrylyuk’s treatment, a cliché such as Beethoven’s Pathetique Sonata sounds fresh, infused with colour, and other repertoire reliables enjoy a depth of insight rarely heard. A splendidly restrained reading of the Chopin A Major Polonaise was followed by a rhythmically lucid version of the A flat Impromptu, then Liszt’s first Mephisto Waltz articulated with bravura precision. Balancing the Liszt, Gavrylyuk’s program ended with Horowitz’s Carmen Variations, carried out with high finesse but preceded by much better in the Stravinsky Three Movements from Petrushka, which transcended the usual percussive muddle to reveal its intricate layers. Five of the Op. 23 Preludes by Rachmaninov found an apex in a rolling declamation of the great B flat Major work, carried off with the aristocratic ardour we have heard from greats like Hamelin, Demidenko and Berman. A memorable recital, loaded with virtuosity.” Clive O’Connell, The Age