Yevgeny Sudbin

” … potentially one of the greatest pianists of the 21st century”
The Telegraph

© Peter Rigaud


Yevgeny Sudbin has been hailed by The Telegraph as “potentially one of the greatest pianists of the 21st century”. As BIS Records’ only exclusive artist, all of Yevgeny’s recordings have met with critical acclaim and are regularly featured as CD of the Month by BBC Music Magazine or Editor’s Choice by Gramophone. His Scriabin recording was awarded CD of the Year by The Telegraph and received the MIDEM Classical Award for Best Solo Instrument Recording at Cannes. It was described by Gramophone as “a disc in a million” while the International Record Review stated that Yevgeny’s Rachmaninov recording “confirms him as one of the most important pianistic talents of our time”. His 10th anniversary disc of Scarlatti Sonatas was received with equal rapture and not only hit No. 1 in the Classical Music Charts but was also nominated for the Gramophone Classical Music Award. Yevgeny was also nominated as Gramophone Artist of the Year in 2016.

Highlights of his 19/20 season include recitals at the Queen Elizabeth Hall as part of the International Piano Series (London), Salle Gaveau as part of the Concerts de Monsieur Croche series (Paris), Berlin Piano Festival (Berlin), Serate Musicali (Milan) and Lofoten Piano Festival (Kabelvåg). Furthermore, he will work with various orchestras throughout the season, including a return visit to the BBC National Orchestra of Wales for 2 concertos and debuts with the Finnish Radio Symphony Orchestra and Malaysian Philharmonic Orchestra.


Video & Audio


  • More info  
    Tchaikovsky, Schnittke & Babajanian: Works for Piano Trio

    Label: BIS Records

    Release Date: 04 Oct 19

    ILYICH PYOTR TCHAIKOVSKY: Piano Trio in A minor, Op. 50
    ARNO BABAJANIAN: Piano Trio in F-sharp minor
    ALFRED SCHNITTKE: Tango, from Life with an Idiot (arr. Yevgeny Sudbin)

    Violin: Vadim Gluzman
    Cello: Johannes Moser
    Piano: Yevgeny Sudbin

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    Beethoven Piano Sonatas Op. 110 & Op. 111

    Label: BIS Records

    Release Date: 29 Mar 19


    Sonata No. 31 in A-flat major, Op. 110
    Sonata No. 32 in C minor, Op. 111
    Six Bagatelles, Op. 126

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    Rachmaninov - Piano Concertos Nos 2 & 3

    Label: BIS Records

    Release Date: 02 Mar 18


    Piano Concerto No. 2 in C minor, Op. 18
    Piano Concerto No. 3 in D minor, Op. 30

    Conductor: Sakari Oramo
    Piano: Yevgeny Sudbin
    BBC Symphony Orchestra

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    Schumann: Piano Quartet - Brahms: Piano Quintet

    Label: BIS Records

    Release Date: 01 Nov 17

    ROBERT SCHUMANN: Quartet for piano, violin, viola and cello, Op. 47
    JOHANNES BRAHMS: Quintet for piano, 2 violins, viola and cello, Op. 34

    Violin: Hrachya Avanesyan
    Violin: Boris Brovtsyn
    Viola: Diemut Poppen
    Cello: Alexander Chaushian
    Piano: Yevgeny Sudbin

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    Beethoven: Piano Concertos Nos 1 & 2

    Label: BIS Records

    Release Date: 23 Mar 17

    Piano Concerto No. 1 in C major, Op. 15
    Piano Concerto No. 2 in B-flat major, Op. 19

    Conductor: Osmo Vänskä
    Tapiola Sinfonietta

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    Scarlatti - 18 Sonatas

    Label: BIS Records

    Release Date: 01 Mar 16


    Keyboard Sonata in D minor, K. 417
    Keyboard Sonata in A major, K. 208
    Keyboard Sonata in C major, K. 159 “La Caccia”
    Keyboard Sonata in C minor, K. 56
    Keyboard Sonata in D minor, K. 213
    Keyboard Sonata in G major, K. 125
    Keyboard Sonata in G minor, K. 373
    Keyboard Sonata in D major, K. 119
    Keyboard Sonata in F minor, K. 69
    Keyboard Sonata in D major, K. 425
    Keyboard Sonata in D major, K. 29
    Keyboard Sonata in C minor, K. 99
    Keyboard Sonata in G minor, K. 12
    Keyboard Sonata in D major, K. 479
    Keyboard Sonata in D minor, K. 9
    Keyboard Sonata in F-sharp major, K. 318
    Keyboard Sonata in D minor, K. 141
    Keyboard Sonata in D minor, K. 32, “Aria”

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    Sudbin plays Medtner & Rachmaninov

    Label: BIS Records

    Release Date: 12 Dec 15

    Prologue from Stimmungsbilder, Op. 1
    Fairy Tale, Op. 51 No. 3
    Forgotten Melodies, Op. 38, Cycle 1
    Forgotten Melodies, Op. 39, Cycle 2

    Six Preludes (from Op. 23 & Op. 32)

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    Scriabin Piano Concerto & Medtner Piano Concerto No. 3

    Label: BIS Records

    Release Date: 01 Dec 14

    ALEXANDER SCRIABIN: Piano Concerto in F sharp minor, Op. 20
    NIKOLAY KARLOVICH MEDTNER: Piano Concerto No. 3 in E minor, Op. 60 “Ballade”

    Conductor: Andrew Litton
    Bergen Philharmonic Orchestra

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    Sudbin plays Beethoven & Mozart Concertos

    Label: BIS Records

    Release Date: 01 Dec 13

    WOLFGANG AMADEUS MOZART: Piano Concerto No. 24 in C minor, K. 491
    LUDWIG VAN BEETHOVEN: Piano Concerto No. 3 in C minor, Op. 37

    Conductor: Osmo Vänskä
    Minnesota Orchestra

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    Rachmaninov Piano Concerto No. 1

    Label: BIS Records

    Release Date: 10 May 13


    Symphony No. 1 in D minor, Op. 13 (1895)
    Piano Concerto No.  1 in F-sharp minor, Op. 1 (1891, rev. 1917)

    Conductor: Lan Shui
    Singapore Symphony Orchestra

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    Sudbin plays Liszt, Saint-Saëns, Ravel

    Label: BIS Records

    Release Date: 01 Oct 12

    FRANZ LISZT: Funérailles
    FRANZ LISZT: Études d’exécution transcendante, S.139 (Nos. 10 & 11)
    FRANZ LISZT: 3 Sonetti del Petrarca
    MAURICE RAVEL: Gaspard de la Nuit
    CAMILLE SAINT-SAËNS: Danse macabre, Op. 40

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    Rachmaninov Rhapsody on a Theme of Paganini

    Label: BIS Records

    Release Date: 01 Feb 12

    Rhapsody on a Theme of Paganini, Op. 43
    Symphony No. 3 in A minor, Op. 44

    Conductor: Lan Shui
    Singapore Symphony Orchestra

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    Sudbin plays Chopin

    Label: BIS Records

    Release Date: 05 Sep 11

    Fantaisie in F minor, Op. 49
    Nocturne in C-sharp minor, Op. 27 No. 1
    Nocturne in C minor, Op. 48 No. 1
    Mazurka in B minor, Op. 33 No. 4
    Ballade No. 3 in A-flat major, Op. 47
    Mazurka in B-flat minor, Op. 24 No. 4
    Mazurka in C-sharp minor, Op. 50 No. 3
    Nocturne in E-flat major, Op. 55 No. 2
    Ballade No. 4 in F minor, Op. 52

    YEVGENY SUDBIN: À la minute – A paraphrase on the Waltz in D-flat major, Op. 64 No. 1 by Chopin

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    Russian Cello Sonatas

    Label: BIS Records

    Release Date: 01 Feb 11

    SERGEI RACHMANINOV: Cello Sonata in G minor, Op. 19
    ALEXANDER BORODIN: Cello Sonata in B minor
    DMITRI SHOSTAKOVICH: Cello Sonata in D minor, Op. 40
    SERGEI RACHMANINOV: Vocalise, Op. 34 No. 14

    Cello: Alexander Chaushian
    Piano: Yevgeny Sudbin



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    Beethoven - Piano Concertos 4 & 5

    Label: BIS Records

    Release Date: 10 Dec 10


    Piano Concerto No. 4 in G major, Op. 58
    Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor”

    Conductor: Osmo Vanska
    Minnesota Orchestra

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    Sudbin plays Haydn

    Label: BIS Records

    Release Date: 10 May 10

    Sonata No. 47 in B minor, Hob. XVI:32
    Sonata No. 60 in C major, Hob. XVI:50
    Sonata No. 53 in E minor, Hob. XVI:34

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    Rachmaninov 4 - Medtner 2

    Label: BIS Records

    Release Date: 13 Oct 09

    NIKOLAI MEDTNER: Piano Concerto No. 2 in C minor, Op. 50
    SERGEI RACHMANINOV: Piano Concerto No. 4 in G minor, Op. 40 [Original 1926 Version]
    SERGEI RACHMANINOV: “Floods of Spring” from Twelve Songs, Op. 14 [Transcription for piano solo by Yevgeny Sudbin]

    Conductor: Grant Llewellyn
    North Carolina Symphony

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    Weinberg - Cello Sonatas

    Label: BIS Records

    Release Date: 01 Oct 07


    Sonata No. 1 for Cello and Piano, Op. 21
    Sonata No. 1 for Cello Solo, Op. 72
    Sonata No. 2 for Cello and Piano, Op. 63

    Cello: Alexander Chaushian
    Piano: Yevgeny Sudbin

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    Sudbin plays Scriabin

    Label: BIS Records

    Release Date: 27 Aug 07


    Étude, Op. 8 No. 12
    Sonata No.2 (Sonate-Fantaisie), Op. 19
    Étude from Three Pieces, Op. 2
    Ten Mazurkas, Op. 3 (Nos. 3, 6, 1 & 4)
    Sonata No. 5, Op. 53
    Nuances from Four Pieces, Op. 56
    Poème from Two Pieces, Op. 59
    Sonata No. 9, Op. 68 “Messe noire”
    Valse, Op. 38

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    Tchaikovsky & Medtner - First Piano Concertos

    Label: BIS Records

    Release Date: 17 Feb 07

    PYOTR ILYICH TCHAIKOVSKY: Piano Concerto No. 1 in B-flat minor, Op. 23
    NIKOLAI MEDTNER: Piano Concerto No. 1 in C minor, Op. 33
    NIKOLAI MEDTNER: Liebliches Kind! [transcribed for solo piano by Y. Sudbin]

    Conductor: John Neschling
    Sao Paulo Symphony Orchestra

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    Mozart - Un moto di gioia: Opera & Concert Arias

    Label: BIS Records

    Release Date: 02 Jun 06

    Featured on:

    WOLFGANG AMADEUS MOZART: “Ch’io mi scordi di te?” K. 505

    Soprano: Miah Persson
    Swedish Chamber Orchestra

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    Sudbin plays Rachmaninov

    Label: BIS Records

    Release Date: 02 Sep 05


    Variations on a Theme of Chopin, Op. 22
    Song Transcriptions: Lilacs (Siren) & Daisies (Margaritki)
    Piano Sonata No. 2, Op. 36 (based on versions played by Horowitz)

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    Scarlatti - Piano Sonatas

    Label: BIS Records

    Release Date: 10 Jan 05


    Sonata in B-flat major, K. 545
    Sonata in F minor, K. 466
    Sonata in F minor, K. 365
    Sonata in D major, K. 435
    Sonata in B minor, K. 87
    Sonata in C major, K. 487
    Sonata in F-sharp minor, K. 448
    Sonata in D major, K. 492
    Sonata in G minor, K. 30
    Sonata in G major, K. 455
    Sonata in G minor
    Sonata in E major, K. 20
    Sonata in A major, K. 429
    Sonata in G minor, K. 426
    Sonata in G major, K. 427
    Sonata in B minor, K. 197
    Sonata in B minor, K. 27
    Sonata in A major, K. 24

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    Better Baroque

    Label: Octave Classics

    Release Date: 19 Jul 03


    J. S. BACH: Keyboard Concerto in D minor, BWV 1052 (3rd mov)

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    16 Jan 20 Recital
    Victoria Concert Hall, Singapore

    “Sudbin’s transcription of Pyotr Ilyich Tchaikosky’s Romeo And Juliet Fantasy Overture […] not only conveyed the dramatic intensity and contrapuntal complexity of the original, but had the audacity of being ridiculously difficult to pull off. While basking in its big melody and brooding with darker pages, Sudbin joins the likes of Sergei Rachmaninov, Vladimir Horowitz, Samuil Feinberg and Mikhail Pletnev as master pianist-transcribers of the Russian school.”

    Chang Tou Liang, The Straits Times, 20 Jan 2020

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    04 Oct 19 Tchaikovsky, Schnittke & Babajanian: Works for Piano Trio BIS Records

    “The playing is superb, Gluzman and Moser intoning the impassioned opening elegy with grave authority before Sudbin takes over with all his mercurial brilliance and the music takes flight. The ensuing 11 variations that make up the rest of the lengthy [Tchaikovsky piano trio] and its closing allegro are each imbued with their own distinct colour and character in a profound performance.”

    Stephen Pritchard, Guardian, 3 Nov 19


    “Violinist Gluzman’s sweetness on high finds its counterpart in the richness of cellist Moser’s low range, and pianist Sudbin possesses the rare ability to play fff without sounding like he’s pounding on the keys. In Variation VII of Tchaikovsky’s trio, Sudbin manages to invoke the colors of a full orchestra without grandstanding.”

    Jason Victor Serinus, Stereophile, 16 Oct 19


    “Jeder der drei Musiker, die diese Einspielung prägen, ist ein arrivierter Künstler herausragender Güte für sich allein. In der Kombination dieser drei Persönlichkeiten ergibt sich ein aufeinander Eingehen und Zuhören und nicht etwa ein Wettstreit um die Vorherrschaft. So haben sie eine Sicht geschaffen, die die technischen Anforderungen mit leichter Hand bewältigt und die tiefen Emotionen und großen Weiten der Musik mit großer Anteilnahme, Intensität und Wärme vermittelt.”

    “Each of the three musicians who characterise this recording is an accomplished artist of outstanding ability on his own. With the combination of these three personalities, there is a sense of unity and listening and not a contest for supremacy. Thus, they have created an album that masters the technical requirements with a light hand and conveys the deep emotions and vast expanses of the music with great compassion, intensity and warmth.”

    Uwe Krusch, Pizzicato, 23 Nov 19


    “Vadim Gluzman, Johannes Moser und Yevgeny Sudbin beschreiten einen vollkommen anderen Weg. Sie haben das Werk genau analysiert, so dass jeder weiß, wann er Wichtiges zu sagen hat und dies unabhängig davon, wie technisch anspruchsvoll das weniger Wichtige gerade ist. Alle Phrasierungen sind feinst abgestimmt. […] Yevgeny Sudbin beherrscht seine Virtuosenpartie derartig souverän, dass er ihn jederzeit transparent halten kann, ohne dessen Farbigkeit an irgendeiner Stelle reduzieren zu müssen.”

    “Vadim Gluzman, Johannes Moser and Yevgeny Sudbin […] have carefully analyzed the work, highlighting important parts of the work, no matter how technically demanding the less important parts are. All phrases are finely tuned. […] Yevgeny Sudbin masters his virtuoso part so confidently that he can always keep it transparent without having to reduce its colour at any point.”

    Thomas Baack, Klassik Heute, 26 Nov 19


    “Yevgeny Sudbin is a terrific player and his colleagues are well matched. […] Well balanced recordings, with virtuosity placed at the service of the music.”

    Tully Potter, The Strad, 3 Jan 20

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    29 Mar 19 Beethoven Sonatas Op. 110 & 111, Bagatelles Op. 126
    CD Reviews

    “[Sonate Nr. 31 -] Sehr heftig und unerbittlich kommt auch das Allegro molto daher, während er sich im Adagio-Teil des dritten Satzes wunderbar in die Musik vertieft, ohne je die Kontrolle über seine Gefühle zu verlieren […]

    Beethovens letztes Set von Bagatellen […] Starke Kontraste kennzeichnen seine Interpretation, zwischen dem delikaten und soften Andante und den schnellen Sätzen mit bewusst ungewöhnlicher Rhythmik. Das lässt das Stück eloquenter und phantastischer werden als unter den Fingern so manch anderer Interpreten.”

    [Sonata No. 31 -] the Allegro molto comes along very fiercely and relentlessly, while in the Adagio part of the third movement he delves wonderfully into the music without ever losing control of his feelings […]

    “Strong contrasts characterize his interpretation [of the last set of Bagatelles], between the delicate and soft Andante and the fast movements with deliberately unusual rhythm. This makes the piece more eloquent and fantastic than under the fingers of many other performers.

    Remy Franck, Pizzicato, 12 Mar 19


    “Sudbin versteht es glänzend, das spontan Fesselnde mit dem übergeordneten Erfassen der organisch sich entfaltenden Gesamtform zu verbinden: man erlebt sowohl ein unvorhersehbares Abenteuer als auch eine erfüllende Kontinuität […]”

    Sudbin understands brilliantly how to connect the captivating spontaneity with the superordinate apprehension of the organically unfolding overall form: one experiences both an unforeseeable adventure and a fulfilling continuity […]

    Christoph Schlüren, Klassik Heute, 9 Apr 19


    “One of the delights of Sudbin’s playing, whatever the repertoire, is his ability to convey a wide colouristic palette – indeed, he talks in his thoughtful booklet essay about how painterly he finds the Bagatelles. He also notes the sheer range of emotions explored in Op 110, from human compassion in the first movement via edgy humour in the Scherzo to lament and then finally triumph. That humanity is very much evident in his reading of the Moderato cantabile, which he imbues with an unusual degree of gentleness and a real airiness to the more delicate writing which is very winning.”

    Harriet Smith, Gramophone, Apr 19


    “Sudbin parvient à illuminer chaque recoin de cette collection dans une ambiance hétérogène avec un savant mélange de tempérament et de souplesse. Nous avons hâte de passer à l’étape suivante sur ce parcours déjà fascinant!”

    Sudbin manages to illuminate every corner of this collection in a heterogeneous mood with a skilful mixture of temperament and flexibility. We can’t wait for the next step on this already fascinating route!

    Jérémie Cahen, Classica, April 2019

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    02 Nov 18 Tchaikovsky Piano Concerto No. 1 Cincinnati Symphony Orchestra
    Cincinnati Music Hall

    “Not many pianists can provide new insight into Tchaikovsky’s well-worn Piano Concerto No. 1 in B-flat Major. But Yevgeny Sudbin somehow made the popular warhorse sound fresh while bringing exciting virtuosity to its challenges in his Cincinnati Symphony Orchestra debut”.

    Janelle Gelfand, Cincinnati Business Courier, 2 Nov 18

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    10 Jan 18 Rachmaninov Piano Concerto No. 2 Montreal Symphony Orchestra
    La Maison Symphonique

    “[Le concerto était] rehaussé par l’étalage de grande virtuosité de Yevgeny Sudbin”

    Daniel Raymond, Atuvu.ca, 10 Jan 18

    “L’interprétation de l’éternel concerto No 2 de Rachmaninov avait quelque chose de magique.”

    Xavier Proulx, pieuvre.ca, 11 Jan 18

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    14 Dec 17 Rachmaninov Piano Concertos 2 & 3
    CD Reviews

    “This fresh, thought-provoking and entirely individual look at the [C minor Second Concerto] absolutely demands attention.”

    “This is a truly outstanding account from the recording team, soloist, conductor and orchestra”

    Jeremy Nicholas, Gramophone, Apr 18

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    17 Oct 17 Recital Conservatario G. Verdi

    “Fin dalle prime note della Sonata n. 32 in si bemolle minore di Haydn, Sudbin ha mostrato ciò che fa di lui un pianista speciale: la qualità del suono.”

    From the first notes of Haydn’s Sonata No. 32 in B flat minor, Sudbin has shown what makes him a special pianist: the quality of the sound.

    Luca Ciammarughi, Classica Viva, 17 Oct 17

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    03 Sep 17 Tippet Rise Opus 2016
    CD Review

    “Yevgeny Sudbin is one of the most interesting pianists around”

    Nicholas Kenyon, The Guardian, 3 Sep 17

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    04 Sep 17 Beethoven Piano Concertos Nos. 1 & 2

    “[Sudbin] injects his personality into the playing and that makes this so engrossing to hear. There always seems to be joy and humour lurking in his phrasing, which he conveys as second nature to his phenomenal technique.”

    Mark Novak, Fanfare, June 17

    “It is impossible to hold back from admiration for Sudbin in whatever he plays, thanks to his brilliance and hallmark exuberance.”

    Stephen Plaistow, Gramophone, May 17


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    10 Jun 17 Solo Recital
    Radio France

    “[Sudbin] éclaire d’une cinglante lumière et d’une urgence dramatique incendiaire la richesse polyphonique et la trame harmonique parfois touffues […] Le public, médusé, réserve à ce grand artiste aussi attachant qu’original un ultime tonnerre d’applaudissements mérités !

    [Sudbin] highlights the rich polyphony and sometimes dense harmonic fabric with intense light and a fiery dramatic urgency […] The public, enchanted, gives this artist an ultimate thunder of well-deserved applause!

    Benedict Hévry, ResMusica, 16 Jun 17

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    16 Jun 16 Solo Recital
    Wigmore Hall

    “Yevgeny Sudbin opened his recital with three of Domenico Scarlatti’s keyboard sonatas (he wrote a staggering 555), adding another two when it came to encore time. The young Russian pianist has already established himself as a major interpreter of the composer’s work, and perhaps no one has conveyed its originality and emotional range with such finesse. In the opening set, the spiritual serenity of the D minor Sonata Kk213 offset the festive bravado of Kk159 in C and the whirling, hard-edged Kk9, also in D minor. Both of the encores were in the same key: the wistfully sensual Kk32 and the fiery Kk141, close to perfection in its dazzling elegance.”
    ★★★★ Tim Ashley, The Guardian, 17th June 2016

    “…high seriousness and great sensitivity”
    John Allison, The Telegraph, 17th June 2016

    “Sudbin placed Beethoven’s valedictory Opus 111 sonata in the middle of his programme, rather than letting it have the last word as usual, and his way with it was bracingly fresh. The first movement exuded the imperious impatience one imagines the deaf Beethoven must have felt as he wrote it, but it was very deftly turned. The variations emerged with their structure rigorously preserved intact, their inner voices coming through with tenderness, and their dotted-rhythm sections demonic; the last 10 minutes had breathtaking emotional power. Sudbin’s formidable technique then allowed him to deliver a memorable Gaspard de la nuit (Ravel), climaxing in a “Scarbo” by turns transparent and thunderous.
    ★★★★ Michael Church, The Independent, 20th June 2016

    “…the pianism was peerless…”
    ★★★★ Harriet Smith, The Financial Times, 19th June 2016

    “…a grand display of virtuosity…I’ve rarely been struck as forcibly by the unique exquisiteness of Scarlatti’s idiom, which seems so oddly unbaroque and out of its time — closer to Chopin, say, than to Handel. The creative explosion that is his 555 sonatas surely remains underappreciated: I can think of few more significant instances of the sheer liberation of the human mind. But Sudbin has done more than most to keep them in the forefront of our attention. And what his interpretations lack in authenticity, they make up for twice over in intelligence and captivating immediacy.”
    Paul Driver, The Sunday Times, 26th June 2016

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    24 Feb 16 SCRIABIN Piano Concerto Bournemouth Symphony Orchestra
    Poole Lighthouse

    “[Sudbin’s] performance here, with the BSO under Vedernikov, confirmed … his prodigious talent and empathy and sensitivity to the special Scriabin idiom”
    Ian Lace, Seen and Heard International, 25th February 2016

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    18 Feb 16 SCARLATTI 18 Sonatas CD Release

    “…the musicality and peerless pianism with which everything is done makes this a hugely attractive disc”
    ★★★★ Andrew Clements, The Guardian, 30th March 2016

    “[Sudbin] shares with Horowitz an ability to conjure up landscapes and narratives within these sonatas, so vividly and intensely are they etched …. A winner.”
    Harriet Smith, Gramophone Recording of the Month, April 2016

    ” … virtuosity, transparency and beautifully calibrated dynamic range are redolent of the most legendary pianists …. this disc is outstanding”
    Charles Pope Jr, Concertonet, 17th April 2016

    “I initially thought that knowing Gramophone had chosen this as their CD of the month could prejudice my listening, for better or worse. A mere first listening relieves one of all such prejudice, not only because the CD is obviously played well. It is, but what is more, is the personal touch Sudbin brings to these sonatas, in such a manner that the listener is able to contribute to the interpretation process. In other words, this CD is an invitation to Scarlatti, to demonstrate, and what is more, to allow us to enjoy, how variable the composer’s emotional range was …. Of all these […] my favourite is the other-wordly rendition of the beautiful K213 sonata, where each repetition is coloured differently and an inspired, almost live performance is caught on tape. A Scarlatti disc that can match the old masters, worthy of comparison and one to listen to frequently.”
    ★★★★★ Feyzi Erçin, Andante Magazine, 14th April 2016

    Disc of the Day
    Jean-Charles Hoffele, Artalinna, 12th April 2016

    “Gabriele D’Annunzio’s description of Domenico Scarlatti’s sonatas as ‘a soft hail of pearls that rush, gleam, resonate, bounce’ could well have inspired the Russian pianist Yevgeny Sudbin in these sparkling and vivacious accounts. This recording showcases 18 of these gems and Sudbin highlights their endless variety: shimmering studies and stately fuges are laced together with vigorous dances and elegiac reflections …. This is impressive playing, by any standards …. Sudbin’s compatriots Vladimir Horowitz and Mikhail Pletnev are both celebrated Scarlatti exponents, but the younger Russian by no means stands in their shadow.”
    Kate Bolton-Porciatti, BBC Music Magazine, April 2016

    “Here is versatility touched with a touch of pianistic genius (an overworked term, but one that comes irresistibly to mind) on a truly glorious scale. Having described Yevgeny Sudbin’s first Scarlatti album (his opening salvo for BIS) as of a ‘superlative vitality and super-fine sensitivity’, I now find him transcending such quality with an ever more vivid sense of Scarlatti’s infinite variety, his uninhibited exuberance, his cloudy introspection …. As before, he juxtaposes the familiar and unfamiliar from the 555-plus Sonatas though his incandescent response makes everything sound like a discovery. This is Scarlatti as if new-minted, whether raucous (holding his sides, as it were, with laughter) or lost in dreams …. Once more, BIS’s sound and presentation are beyond criticism. I can scarcely wait for more Scarlatti, Medtner and Rachmaninov from this astonishing young pianist. Recreation on his level is rare …”
    Bryce Morrison, International Piano Magazine, March/April 2016

    “Yevgeny Sudbin’s Scarlatti is a thing of wonder, as he shows again – 11 years after his first collection for BIS – in this astute celebration of the composer’s rich fund of fresh, stimulating ideas. Sudbin’s art is to think deeply about the music’s expressive implication and then allow Scarlatti’s imagination to ignite his own. The result is spellbinding.”
    Geoffrey Norris, Gramophone Magazine, December 2016

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    08 Jan 16 BEETHOVEN Concertos Nos. 1 & 2 Minnesota Orchestra
    Orchestras Hall Minneapolis

    “Sudbin’s playing in the Concerto No. 1 was sparkling, alive and natural — nimble and witty in the outer movements while superbly inward and reflective in the slow movement, where the notes, so delicately struck, sounded as if they had little sonic halos around them. Sudbin proved once again to be a master of those nearly imperceptible tempo and dynamic adjustments that give life to music.”

    Michael Anthony, Star Tribune, 9th January 2016

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    12 Dec 15 MEDTNER & RACHMANINOV Solo Works CD Release

    “… a wonderous disc …. [Sudbin has] an exceptional affinity with Medtner’s language …. in all six of these [Rachmaninov] preludes Sudbin deploys a luminous spectrum of timbre, a clear interpretative focus and a finely tuned imagination to encapsulate their very essence.”
    Geoffrey Norris, Gramophone Magazine, January 2016

    ” … [Sudbin is a] consummate musician … so subtle and eloquent”
    Jean-Charles Hoffele, ARTAMAG’, 16th February 2016

    Lebrecht Album of the Week
    “Something clicks in the opening track of this album in a way this listener seldom experiences, in concert or on record …. Sudbin’s concentration is phenomenal; one barely dares breathe for fear of missing an inflection.”
    Norman Lebrecht, La Scena Musicale, 15th February 2016

    ★★★★★ Sophie Bourdais, Télérama, 15th February 2016

    ★★★★★ Gregor Willmes, Stereo Magazine, April 2016

    ” … a marvel of poetic commitment.”
    Bryce Morrison, International Piano Magazine, May/June 2016

    “…there are truly no weaknesses in these performances. Medtner’s thick textures are remarkably clear and balanced. There is wonderful legato and beauty in the melodies and great excitement in the virtuosic sections….there is no music that Sudbin could record that I would not want to hear.”
    Harrington, American Record Guide, July/August 2016

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    07 Aug 15 Beethoven Piano Concerto No. 5 Tivoli Symphony Orchestra
    Tivoli Festival

    “Beethovens’s fifth piano concerto is rarely heard as lithe and sumptuous as this….The 35 year old Yevgeny Sudbin is referred to in many international music magazines as one of the greatest talents of our time, and on Friday he lived up to this reputation with splendor.”
    ★★★★ Christine Christiansen, Jyllands Posten, August 2015

    “Pianist Yevgeny Sudbin takes ones breath away compared to most of today’s pianists. On Friday in Tivoli he proved his worth with a powerful yet gentle virtuosity.”
    ★★★★★ Henrik Friis, Politiken, August 2015

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    14 May 15 Solo Recital International Piano Series
    Queen Elizabeth Hall

    ★★★★ “[A] blazing display of pianistic and musical mastery”
    Ivan Hewett, The Telegraph, 14 May 15

    “This is a pianist who will keep surprising us each and every time, one to follow for life.”
    David Nice, The Arts Desk, 14 May 15

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    09 Apr 15
    Boston Conservatory

    “For his local debut at Boston Conservatory’s Piano Masters Series, [Yevgeny Sudbin] performed an ambitious, encyclopedic, and subtly rendered program of works by Haydn, Beethoven, Chopin, Rachmaninoff, Scriabin, and Saint-Saëns […] A St. Petersburg native now living in London, Sudbin conveys an innate sense of refinement in his deportment and playing.”
    Harlow Robinson, The Boston Globe, 9 April 2015

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    12 Jan 15 SCRIABIN Piano Concerto & MEDTNER Piano Concerto No. 3 CD Release Bergen Philharmonic / Andrew Litton

    Concerto Choice “These are superb performances of two underestimated concertos, of which Scriabin’s is perhaps the best known. […] This is unquestionably an engaging account, Sudbin’s glistening and expressive virtuosity matched by Andrew Litton and the Bergen Philharmonic’s idiomatic playing, with touches of string portamento in the opening movement. Even more revelatory is ther performance of Medtner’s Third Concerto. […] Sudbin seems alert to its every note and creates a compelling journey, shaping every phrase through dynamic shading and contrast as well as rubato and dramatic ritenutos.”
    Daniel Jaffé, BBC Music Magazine, February 2015

    “Sudbin recognises there is something very different about Scriabin even in this fairly early music—a restless, rhythmically free quality which it is unwise to tie down, an evanescence in ideas and shapes that need a lightness of touch. In Litton and the Bergen orchestra, Sudbin has found like-minded partners who are willing to follow him in the music’s liquid flow, and the result is a performance that is an exultantly truthful tribute to Scriabin’s individuality and to the ways in which his harmonic vocabulary already bears signs of the instability that was to become much more pronounced later on. Medtner’s Third Concerto, completed in 1943, ought, as Sudbin says in a booklet note, to sound more modern than the Scriabin, but, as he rightly concludes, it is the Scriabin that is the more experimental and daring. Nevertheless, this fine performance firmly establishes Medtner’s stature and musical personality.”
    ★★★★★  Geoffrey Norris, The Telegraph, 18 January 2015

    “In the Scriabin Concerto, Sudbin displays formidable technical virtuosity, in a performance contrasting emotional intensity with melancholy and tranquillity. […]
    Medtner’s Piano Concerto No. 3 was commissioned by Benno Moiseiwitsch, who did much to promote the composer’s work. […] This is a compelling performance with the soloist, conductor and orchestral players having a positive understanding of the structure of this lengthy work, judging the ebb and flow well.  There is drama and passion when called for, with the more lyrical passages eloquently realized. […] On the evidence here, there is no doubt in my mind that Sudbin’s discographical legacy is going from strength to strength.
    Stephen Greenbank, MusicWeb International, February 2015

    “Yevgeny Sudbin has a reputation as a Scriabin player, and his performance of the concerto confirms it. Magisterial and masterly, he lays out the piano part before us in exquisite detail, relishing all those entrancing moments where the composer indulges in Chopinesque keyboard coloring.”
    Phillip Scott, Fanfare, July/August 2015

    “Coupled with a fine performance of Medtner’s No 3, Sudbin’s Scriabin recognises that there is in the Piano Concerto, for all its Romantic legacy, a restless, rhythmically free quality that it is unwise to tie down, an evanescence of ideas and shapes that necessitate a lightness of touch in order to become truly airborne.”
    Gramophone Magazine Critic’s Choice 2015

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    07 Nov 14 BEETHOVEN Triple Concerto Australian Chamber Orchestra
    Australia Tour

    “In Beethoven’s Triple Concerto in C, Russian pianist Yevgeny Sudbin gave incontrovertible evidence of exceptional ability as he emerged covered in glory, generated by faultless fingers and a perfect understanding of style.”
    Neville Cohn, Capital City Daily (Perth), 31 October 2014

    Beethoven with freshness, clarity and energy
    Extreme delicacy and lithe responsiveness were the hallmarks of the ACO’s interpretation of the Triple Concerto in C major, op.56. Who could resist the invitation of Timo-Veikko Valve’s opening solo celo phrase against the throbbing violas?  With the entry of the solo violin and the eager echoing phrase from Yevgeny Sudbin on piano, the interweaving voices wove a web of intoxicating sound.”
    Jennifer Gall, Canberra Times, 7 November 2014

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    21 Apr 14 US recital tour

    Ahead of his return to the Harriman-Jewell Series as part of a recital tour of the US, Yevgeny spoke to the Kansas City Independent.

    Please click the link below to read the full interview.
    Paul Horsley, Kansas City Independent, 11 April 2014

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    16 Dec 13 BEETHOVEN Piano Concerto No. 3 & MOZART Piano Concerto No. 24 CD Release Minnesota Orchestra / Osmo Vänskä

    “Yevgeny Sudbin is one of the most sensitive pianists of our time and his Mozart Concerto is accordingly moving.  He is not only in a constant dialogue with the orchestra, there seems to be also some inner voice interfering in his playing, so that the performance becomes exciting beyond measure.  Beethoven’s Third Concerto is not less interesting.  We admire especially the vivid and colorful playing of the Minnesota Orchestra.”
    Remy Franck, Pizzicato, 11 January 2014

    “An unmissable, and often startling, recording.”
    Classic FM Featured Album, 3 February 2014

    “This new release features more gold-plated music-making and skilful aural engineering.  The programming’s intelligent too, with Beethoven’s Third Concerto in C minor prefaced by Mozart’s No 24 in the same key—a palpable influence on the Beethoven, at least in its opening motif, a terse unison statement. Both works give the Russian marvel Sudbin ample chances to show himself as a pianist of fresh imagination, strength and elegance.”
    ★★★★ Geoff Brown, The Times, 7 February 2014

    “[On Beethoven Piano Concerto no.3]Kurzum: eine Interpretation von höchster Eigenständigkeit, hoher Spielkultur – aufregend und berührend, sozusagen ein „Mitnehmsel“ für die immer wieder ins Kalkül gezogene einsame Insel…”
    Peter Cossé, Klassik Heute, 19 February 2014

    Recording of the Month
    “Sudbin delivers performances of poise, elegance and marked with a sense of style.  There is depth and profundity in his intellectual vision of the music.  He is ably supported by Vanska and his players.  Orchestral playing is crisp and incisive.  The Minnesota players have a lush string tone and mellifluous wind section.  Here is music-making which is alive and vital and underpinned by the finest musicianship.  These are highly polished and well-rehearsed  performances. Mozart’s own cadenzas for K491 have not survived.  In the notes, Sudbin states his delight at being given the opportunity to “get creative” and provide his own cadenzas for movements one and three.  He sees this as a challenge with the composer throwing down the gauntlet, so to speak.  He doesn’t want the cadenza to be a mere imitation of Mozart, but rather to push the boundaries applying his “own brand of mediocrity”.  He certainly applies his own brand with a cadenza showcasing his bravura technique and creative imagination to the full.”
    Stephen Greenbank, MusicWeb International, March 2014

    “The young Russian pianist Yevgeny Sudbin has already shown himself an unusually insightful pianist, an impression reinforced by the eloquent and searching performances captured here. Listen to the sensitivity of his phrasing in his first appearance in the Mozart: each entrance growing softer, more hesitant, as the music strays further from the home key, then darkening as the music is drawn, inexorably, back to the darkness of C minor. Unlike many other Russian pianists of his generation, Sudbin’s playing has lightness, flexibility, and a variance of touch perfect for making Mozart sound fresh. But there’s also no shortage of power when it’s called for, as in the finale of the Mozart and the opening movement of the Beethoven, which is bracing but never heavy. Sudbin even provides his own extroverted cadenzas for the Mozart, and though he writes self-deprecatingly of them in a program note, they are riveting and need no apology.”
    David Weininger, The Boston Globe, 3 May 2014

    “Sudbin has been acknowledged by critics and musicians worldwide for an impeccable and highly developed technique.  He can play the piano with remarkable facility, and while neither of these concertos is of Lisztian difficulty, his technique allows him to phrase and color as he wishes.  Runs are astonishingly even and clear.  No note is underweighted, no note is overemphasized. […] The pearly beauty of tone is particularly effective when he is playing softly in the slow movements of both works.  The decrescendos in the Beethoven cadenza and jaw-droppingly effective. The Beethoven is, as you would expect from both Sudbin and Vänskä, muscular and dramatic, while always retaining great textural clarity.  The rhythmic pulse is rock-solid, the shaping is firm without being too taut, and both soloist and conductor employ a subtle flexibility that prevents the performance from ever sounding stiff. […] The performance has wit, drama, elegance and beauty all in the right proportion.”
    Henry Fogel, Fanfare Magazine, September/October 2014