Extractions: This budget compilation is rather uneven. As long as Gavrilov's cybernetic fingers are kept fully occupied, there's no room for argument. Who could resist his mad dash through the F sharp minor Etude-Tableau Op 39/3? True, the piece emerges frazzled, hanging on to musical coherence by a thread, but oh the virtuosity! An intoxicating demolition of the B flat major Prelude is scarcely less impressive, seeing the pianist take an extended chord chain near the close in a single breath. Even Kissin sounds earthbound in comparison.
Great Pianists Of The 20th Century James Jolly zei er het volgende over While critcics may quibble over the choiceof this or that pianist, or debate the 22, andrei gavrilov, 1955, Rusland, cd 31. http://www.oboss.nl/muziek/Greatpianists.htm
Extractions: De serie heet niet " The great pianists of the 20th century"of "Great est pianists of the 20th century" of " The great es t pianists of the 20th century" maar de titel is bewust "Great pianists of the 20th century. Proef de verschillen. Daarmee geeft samensteller Tom Deacon aan dat het een keuze is. Er hadden ook andere pianisten in de serie kunnen zitten maar hij volstaat met deze pianisten. Het merendeel van de voorspelbare kritiek richt zich daar dan ook op. Maar elke keus is dubieus en elke criticus wil in zijn stukje aangeven dat hij niet van de straat is door andere namen te noemen.
Extractions: Recordings of the Chopin 24 Etudes, op.10 and op.25 (complete) Pianist Original Label Rec. Date Aide, William CBC Musica Viva Aneivas, Augustin EMI Arrau, Claudio EMI (mono) includes trois nouvelles etudes Ashkenazy, Vladimir Ashkenazy, Vladimir Decca Backhaus, Wilhelm HMV DB 1132-4, or DB 1178- Berezovsky, Boris Teldec includes trois nouvelles etudes Bingham, John Meridian Binns, Malcolm Pearl includes trois nouvelles etudes Biret, Idil Naxos 1990's Brailowsky, Alexander RCA Victor LM 6000 1950's Browning, John RCA Cherkassky, Shura HMV ALP 1310-1 (Philips CD) includes trois nouvelles etudes Cortot, Alfred (2 versions) HMV 1930's Cziffra, Gyorgy Philips AL 3427 Duchable, Francois-Rene Erato Fialkowska, Janina Opening Day Elinson, Iso Pye CCT 31002-3 Francois, Samson EMI includes trois nouvelles etudes Gavrilov, Andrei EMI Ginzburg Melodyia Goldsand, Robert Nixa CLP 1132-3 includes trois nouvelles etudes Haas, Werner Fontana EFL 2516 Harasiewicz, Adam Philips - PHC 9115 Hobson, Ian Cfp Koczalski, Raoul Decca LY 6115-21 mono includes trois nouvelles etudes Leimar, Kurt
Russische Musik-Links - Saenger, Opern, Komponisten, CDs Und Mehr Translate this page andrei gavrilov erblickte im September 1955 als Sohn einer Künstlerfamilie in Schonfrüh zeigte sich andrei gavrilovs Talent pianist Lev Vinocour http://www.fortunecity.de/lindenpark/schiller/34/ru-musik.html
Muusik1-2 19) annab soolokontserdi andrei gavrilov Venemaalt, muusik, kes gavrilov on veel kaheSaksamaa aegu käinud ette meile uustulnuk, rootsi pianist Fredrik Ullén http://www.sirp.ee/Arhiiv/23.10.98/Muusik/muusik1-2.html
Contents Translate this page pianist Dag Achatz, Valery Afanassiev, Pierre-Laurent Aimard, Dmitri Alexeyev,Donna Martin Galling, Rudolf Ganz, Rudolph Ganz, andrei gavrilov, Kemal Gekic http://homepage1.nifty.com/alkan/cdcollection/contents.html
Singapore Symphony Orchestra - Jul To Dec 2000 Tragic . Howard Shelley conductor and pianist. July 28 29 (Friday Saturday) Gala Concert andrei gavrilov Plays Rachmaninov Sibelius http://www.sso.org.sg/program.html
Robert Laniewski Biography gavrilov has invited me to visit him at his home in Bad andrei and Robert, Wiesbaden,Germany. kilometres through the woods, I asked the older pianist where he http://www.geocities.com/rlani1/author.html
Extractions: Biography - Long Version Robert Laniewski I was born in January 1979 in Empangeni, South Africa I began learning the piano at the age of seven with my mother, an amateur musician. My father, an electrical engineer, and the son of Polish-Dutch émigrés, took piano lessons as a child, but because his family could not afford the luxury of a piano, he could only practise once a week at his lessons, which eventually fell by the wayside. My parents had at first offered to send my sister, a year younger than myself, for piano lessons, but out of fairness offered to send me too, not expecting that I would be particularly interested. But in fact I was interested, and quickly became adept at sight-reading and improvisation. At the age of eight I would entertain my maternal grandparents with Schuberts Standchen. My sister and I took lessons for a few months with a teacher, but we were put off by her lack of enthusiasm towards both our talent and music. We didnt take lessons or play the piano again for a few years. As a child, I would spend my afternoons riding my bicycle around the neighbourhood (rather than doing my school homework).
What Is Technique? composer, and with the rigorous training that he received as the Moscow Conservatoire,how could he not also be a great pianist? andrei gavrilov really has it http://www.geocities.com/rlani1/technique.html
Extractions: Josef Lhevinne I grew up with a complete disregard for technique, since I had no idea what it meant, apart from some vague conception of a group of people who were conscientious about practising their scales. In my view, if you were musically inept, then you could have your 'technique'. From the age 10 I composed quite prolifically. At the age of 14 I gave an effortless performance of the Rachmaninoff Polichinelle in public. In retrospect, that was no mean feat. I was just oblivious to what was going on, and I didn't practise much either. (Can you believe that I wore jeans and running shoes at the concert, and the audience chuckled because I had to push the stool back about a metre to accommodate my legs? But their glee soon turned into astonishment. Given another chance, I'd make a much bigger deal out of the whole thing.) In my late teens, a few years after I had left my teacher and gone solo for a while, I visited her to show her my progress. One of the pieces that I played for her was the 'Revolutionary' Etude. She said, "I wish I could do that". (And she apparently never had a problem with Liszt's Un Sospiro.) I had never practised my scales (and didn't even know what an arpeggio was) nor had I practised the Czerny exercises which she had given me some time before that. So my internal thought process was something like, you're the one who's conscientious about those things, but I'll stick to being able to play this Etude.
Yamaha Pianos Grace The 2000 Newport Music Festival Press Americas Elite 1000 The Ultimate List, began with a formal openingnight gala concert on July 10, featuring Russian pianist andrei gavrilov. http://www.giles.com/yamaha1/pressreleases/Piano/newport00.htm
Extractions: Newport Music Festival American pianist Thomas Hrynkiw performs at Marble House during Newport Music Festival. In its 32-year history, the festival has presented more than 100 artists and ensembles in their American debuts. This year, the festival used CFIIIS concert grand pianos and Disklavier pianos For more information on Yamaha pianos, write Yamaha Corporation of America, Piano Division, P.O. Box 6600, Buena Park, CA 90622-6600 or call (714) 522-9213.
Extractions: trovar.com Sviatoslav Richter - an introduction to his life and work Sviatoslav Richter, widely regarded as one of the finest Russian pianists of the twentieth century, was born in Zhitomir, in the Ukraine, on March 20, 1915. His father, Theophile, was an organist and gave the young Sviatoslav his early musical training. Richters mother, Anna, was a talented artist who loved music and was related to the Swedish soprano Jenny Lind. The young Richter was essentially self-taught and developed his exceptional technique by playing whatever music he liked. By the age of eight he was playing opera scores, including the music of Richard Wagner. He had the ability to memorize any music at sight. Richter grew up in Odessa, where his father taught at the Conservatory. Also growing up in Odessa at the same time were Emil Gilels and David Oistrakh, who would later become Richters chamber-music partner. During these years he was a repetiteur, or rehearsal pianist, in Odessa. His debut as a soloist came on February 19, 1934, at the Odessa House of Engineers. The program included the Chopin Ballade no. 4, Polonaise-fantaisie, and E Major Scherzo, as well as a selection of Nocturnes, Etudes, and Preludes, all difficult pieces. The recital was a great success and Richters career as virtuoso was under way. In 1937 Richter left Odessa for Moscow to study with the great pianist and pedagogue Heinrich Neuhaus. Richter did not take the entrance exam at the Conservatory. He simply asked Neuhaus to teach him. Neuhaus listened to his playing and said, "Here is the pupil for whom I have waited all my life. In my opinion, he is a genius." Neuhaus declared that he had nothing to teach Richter but accepted him as a pupil anyway. On November 26, 1940, while still a student at Moscow Conservatory, Richter made his Moscow debut. Here he gave the first public performance of the Prokofiev Sonata No. 6 and made a highly favorable impression on both the audience and the composer. When Prokofiev completed his Seventh Sonata in 1942, he gave it to Richter for the premiere. Richter learned the piece in only four days, and performed it the following January. Richter also gave the first performances of Prokofievs Eighth and Ninth Sonatas, the last of which was dedicated to Richter.
Musical Heritage Society andrei gavrilov, a still youngish Russian pianist of eclectic leanings, graftshis own experiences of coming of age in the 70s and 80s in Soviet Russia to http://www.musicalheritage.com/CLASSICAL/digsinfo.sp?RECORD_NUMBER=5543&CATEGORY
SEPTEMBER 21 CLASSICALmanac 'today In Classical Music' 1955 Birth of Russian pianist andrei gavrilov in Moscow. Tchikovskyprize winner, 1974. 1957 Birth of Russian soprano Nina RAUTIO. http://www.angelfire.com/ab/day/sep21.html
Newport Music Festival--GAVRILOV--July 2000 my life. It was the return to Newport after 26 years, of andrei gavrilov,the Russian pianist (now living in Germany). One year http://www.farklempt.com/Travels/Newport.Music.Festival.0007/gavrilovindex.html
Extractions: JULY 2000 This evening, I had one of the supreme musical experiences of my life. It was the return to Newport after 26 years, of Andrei Gavrilov, the Russian pianist (now living in Germany). One year after the Newport Music Festival began, Mark Malkovich, the director, had the chutzpah to go the USSR and ask them to let him bring Gavrilov, then 18, just after he had won the Tchaikovsky Competition in Moscow. To his astonishment, they sent him, albeit with an omnipresent KGB agent. Now, at age of 44, he returns for the Opening night gala. I was expecting a stupendous evening, but it turned out to be much more than I had hoped for. I've heard the CD of Rachmaninoff playing a modern piano, "A Window in Time." It was done because Rachmaninoff, when he was alive, recorded much of his work on a machine that captured not just the notes, like a player piano, but also the nuances, the attacks, the phrasing, the crescendos, etc. He was an unbelievable player. It was just as he said, "I am the best." No one I have ever heard could play with such strength, power, and speed, accuracy, and grace, all at once...no one, that is, except Gavrilov, whose recordings are instantly recognizable to the ear. But I didn't know he was such a performer, such a showman, so narcissistic, so weird. The evening began in the Great Hall of The Breakers. I arrived at 8:10 PM for the 9:00 PM concert, and the line was already going around the block. There were those of us who were casually dressed, and there were those of Newport's High Society, in ballgowns, with fabulous jewelry, tuxedos. By running, pushing, climbing over aging dowagers and knocking doddering old men to the ground, I was able to secure a good seat with an excellent view of the keyboard.
Prokofiev, Prisoner Of The State/Part 3 them with the musical image of a clubfingered amateur pianist spraying out withthe very weight of his own pompous leitmotif! andrei gavrilov, too, rejects http://www.siue.edu/~aho/musov/proko/prokofiev3.html
Extractions: Below: Prokofiev with Mira Mendelson In an official symposium on the composer in 1954, Ilya Ehrenburg, encoding his meaning in the way customary under such circumstances, observed: "Posterity will not be able to understand our difficult and glorious period of life without intently listening to the works of Sergei Prokofiev, and contemplating his extraordinary fate." Had Ehrenburg said this about Shostakovich, few Western pundits (in recent years, at least) would have missed what he was getting at. Applying similar criteria to Prokofiev, however, is still quite a new idea. Though much of his brisk arrogance was curbed by the adversity of his final years, Prokofiev remained fundamentally self-centred, interested chiefly in his own inner world. His capacity, or desire, to empathise with the lot of other people being limited, it is hardly surprising that, compared with Shostakovich, his work should be thinner on tragic subtexts. All too often brilliantly one-dimensional, a large part of Prokofiev's music is that of a clever, derisive child, achieving its best effects in the context of fairy-tale, romanticised history, or nostalgia for boyhood. As with Ravel, whom he particularly admired, Prokofiev's engagement with the practical world of adulthood was reluctant (and often sarcastically ill-tempered). Unlike Ravel, however, it was his "extraordinary fate" to be forced to see far enough beyond his own predicament for his creativity to deepen in spite of itself. Whatever else it did to him, life in the USSR made him grow up.
Carnegie Hall: Montreal Symphony Orchestra And Argerich 23 24 with Russian pianist andrei gavrilov (rumor has it Argerich didntwant to learn the Ginastera from scratch). On the evening of Saturday Oct. http://www.scena.org/columns/anson/011028-PA-mso.html
Extractions: On the evening of Saturday Oct. 27 Argerich was in her demoness phase. She seemed distressed, as if performing under duress, and made faces on the two occasions when she flubbed notes. It was one of those concerts where her former husband, conductor Charles Dutoit, had to encourage and cajole her from the podium, then try to keep up with her when she bolted from the gate like a racehorse. Of course, Argerich is always worth hearing, even when moody. Her Tchaikovsky was a titanic, momentous effort which her dark, slightly loony virtuosity made especially gripping. Argerich played loud and fast, attacking the keyboard with the broad strokes of a sculptor shaping a raw block of marble. Yet there were also flashes of detailed whimsy: her solo passage in the first movement was syncopated, almost jazzy. And she played the whole concerto at dizzying speed, as if to prove she still has the chops. The Prestissimo was about as fast as a human can play while still maintaining clarity and articulation. The orchestra struggled to keep up with the divas rapid tempi and unpredictable rubato. They framed her fireworks nicely, but made little statement of their own.
Evgeny Zarafiants -Reviews- idiom can make the wintry blast of, say, andrei gavrilov or even Impressive technique,soulful expression pianist Evgeny Zarafiants gives his Cologne debut in http://www.evgeny-zarafiants.com/review-e.htm
Extractions: I first heard Evgeny Zarafiants as a jury member of the 1993 Ivo Pogorelich Competition in Los Angeles , where he was awarded joint-second prize. Those of us who were present at that strange and unforgettable occasion have remained haunted over the intervening years by his exceptional artistry. So how gratifying to find that this Naxos album, volume 1 of what promises to be a complete cycle of the Scriabin Preludes, not only confirms that first and indelible impression, but takes us beyond into a world of the most searching and impeccable pianism and musicianship . Indeed, such a flawless and personal distillation of Scriabin's style and idiom can make the wintry blast of, say, Andrei Gavrilov or even - dare I say it - the palpitating sense of neurosis of Horowitz in this composer, seem superficial by comparison.
Extractions: Already a member? login Advanced Search genre Action/Adventure Anime Classics Comedies Cult Documentary Drama Film Noir Foreign Language Gay and Lesbian Horror Indie Instructional/General Kids Midnight Viewing Music Romance Science Fiction Special Interest Suspense/Thriller Television award winners Indie Spirit Awards Cannes Palm d'Or Sundance Winners AFI Top 100 Movies Oscars critics' circle Rosenbaum's Top 100 LA Film Critics NY Film Critics GreenCine suggests... new to GreenCine Coming soon 100 Best Indies Best Documentaries Bach: 48 Preludes and Fugues - The Well Tempered Clavier (Disc 1 of 2) (2001) To commemorate the 250th anniversary of Bach's death, four of the world's best classical pianists have gathered to record the 48 preludes and fugues of THE WELL TEMPERED CLAVIER. Andrej Gavrilov, Angela Hewitt, Joanna MacGregor, and Nikolai Demidenko each perform 12 preludes and fugues from selected locations in Barcelona, Venice, Oxford and Bach's birthplace, Eisenach to honor their instrument's spiritual grandfather. Disc 1 contains: Program 1-12 Pianist: Andrei Gavrilov; Filmed on Location at the New Art Gallery, Walsall
Concerto Winderstein GmbH Translate this page andrei gavrilov, am 21 Der pianist Denys Proshchayev, die große Entdeckung des geradebeendeten ARD Musikwettbewerb 2002 (Proshchayev wurde mit dem - einzigen http://www.winderstein.de/lastminute.htm
Extractions: Concerto Winderstein Martha Argerich , die Solistin des Konzertes am 27. April in der Philharmonie, wird an Stelle des f-moll-Klavierkonzertes von Chopin das Klavierkonzert Nr. 1 C-dur op. 15 von Beethoven spielen. In der "New York Times" ist er der "berühmteste lebende Cellist der Welt", sein Freund Emanuel Ax rühmt ihn als den "vielleicht perfektesten Instrumentalisten, dem ich jemals begegnet bin", und im "Spiegel" schließlich: " ... zerstreuter Professor und konzentrierter Virtuose, träumerischer Denker und wildes Arbeitstier, zugleich Gralshüter der reinen klassischen Lehre und, wenn ihn - wie häufig - der Hafer sticht, auch deren frech fideler 'Verräter' ". Nicht weniger spektakulär sein Instrument: eine Montagna aus der ersten Hälfte des 18. Jahrhunderts. Yo Yo Ma Gavrilovs , in auch noch so vertrackten, formalistischen oder Konventionen verhafteten Kompositionen Gedanken und Gefühle zu entdecken, die ganz menschlich, ganz vertraut und doch nur durch Musik auszudrücken sind. Er ist ein Geschichtenerzähler ... Denn seine Musik verzückt. Eine solche Bandbreite an Ausdruck und Dynamik nämlich kann nur einer wagen, der etwas zu sagen hat. Gavrilov hat. Und so rettet er auch Prokofjews zehn von der Ballettmusik übertragenen Klavierstücke zu "Romeo und Julia" vor der Langeweile ... (Auszug aus der Westdeutschen Zeitung von 8. Februar 2003)
