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Erstklassige Visitenkarte

Alexander Gavrylyuks Solorecital mit russischen Werken, das von Piano Classics veröffentlicht wurde, zeigt einen exzellenten Pianisten, der virtuose Technik in den Dienst differenzierten Ausdrucks stellt.


Der gebürtige Ukrainer Alexander Gavrylyuk gehört zu den vielversprechendsten Pianisten seiner Generation. Der Weg des mittlerweile 28-Jährigen ist seit zwölf Jahren mit Wettbewerbssiegen gepflastert, und doch ist Gavrylyuk kein ‚Wettbewerbspianist‘, der eine individuelle Interpretationshaltung zugunsten makelloser Technik zurückstellte. An einer exzellenten Technik mangelt es ihm nicht; aber er stellt sie nicht um ihrer selbst willen aus, sondern im Dienste eines ausdrucksvollen Spiels. Davon konnte man sich in den vergangenen Jahren etwa anhand seiner Gesamteinspielung der Klavierkonzerte von Sergej Prokofjew überzeugen. Nun legt Gavrylyuk beim Label Piano Classics mit einem Solorecital nach, das im April 2011 in Holland aufgezeichnet wurde.



Moody aids Gavrylyuk to another CSO triumph -July 2011

by David Shengold

....That made a fine warm-up to the Prokofiev concerto. Since this is Gavrylyuk’s sixth sea- son here, he got a hero’s welcome upon en- trance; plus, many knew to sit on the left to see his amazing hands fly up and down the keyboard. (Those on the right had a better view of his rapt facial expressions, including the relief at the brief pauses from incredible exertion that the solo part afforded him).




Music review: Bramwell Tovey, Alexander Gavrylyuk, Los Angeles Philharmonic at Hollywood Bowl

September 9, 2010 | 12:10 pm- (pulling out parts about Alexander only)

...Gavrylyuk, a Ukrainian in his mid-20s now living in Australia, 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.  Coming out of the cadenzas, Tovey picked up on Gavrylyuk’s momentum and ran with it, his astute conducting minimizing such structural roadblocks as the strange pauses in the finale.

Wow the crowd Gavrylyuk did, and he came back with the Liszt/Horowitz circus-like take on Mendelssohn’s “Wedding March,” brimming with a nervous energy that, dare we say, brought back memories of one Mr. Horowitz.  Gavrylyuk sounds like he would be spectacular in Prokofiev; we’ll soon find out, for he recorded all of the concertos last year.

-– Richard S. Ginel


Brabants Dagblad,

February 15, 2010



Gavrylyuk Causes Real Piano Spectacle




By Mark van der Voort


Alexander Gavrylyuk, Piano Recital, Liedertafel, Tilburg, Aula UvT,

heard on Monday February 15

Young brilliant artists do have a hard time. Full of promise and continually highly thought of. Not everyone is able to stand the pressure. Even a skating hero like Sven Kramer can identify with this. The young Ukrainian pianist Alexander Gavrylyuk is ambitious and extremely talented. Critics and music fans alike praise the 25 year old to the skies, and worldwide fame is preceding him quickly.


Gavrylyuk Great in Prokofiev’s Piano Concert




Royal Concertgebouw Orchestra


Concertgebouw, Amsterdam, May 19th


Serge Prokofiev was not only a composer but a great pianist as well. His unconditional way of playing and steel touch were completely new at a time when Romanticism had just ended. Prokofiev demanded the same style of playing from his performers, particularly in his second piano concerto, opus 16. This 4 piece work demands a great deal of accuracy, strength and stamina from the soloist.


Prokofiev himself played his piano concerto for the first time in Amsterdam with the Concertgebouw Orchestra in 1929. It has only been heard occasionally since, because this piece remains an unassailable fortress for a lot of pianists. Even though it opens quietly and evocatively, very quick tempi and powerful dynamics dominate in the four parts.

Eighty years on, this concerto was heard in the Concertgebouw in a performance of which Prokofiev would have been proud: the young Ukrainian Alexander Gavrylyuk, who seemed to possess real strength in spite of his frail build. During the complex cadenza he developed a strength of sound only slightly inferior to the entire Concertgebouw Orchestra playing at full power. He interpreted the perpetuum mobile of part 2 sparklingly. It was only in the finale that he was able to show that he possessed lyrical qualities too. Maybe that was why as an encore he decided to play Rachmaninov’s Vocalise with a velvety softness.


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