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BSO - Worlds Old & New

Do More, South Coast
RACHMANINOV: RHAPSODY ON A THEME OF PAGANINI: 27 November 2013
Bournemouth Symphony Orchestra/Carlo Rizzi, Poole Lighthouse

"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’."

Poesie, Leidenschaft, Virtuosität

Freiburger Nachrichten
SOLO RECITAL - 13 October 2013 - Aula de l'Université, Fribourg

"Im zweiten Konzert der International Piano Series 2013/14 hat Alexander Gavrylyuk das Publikum mit Werken von Mozart, Schumann und Prokofjew begeistert."

Gavrylyuk’s virtuosity stupefies even fellow musicians in marathon Saturday Concert

Chautauquan Daily - July 23 2013

Sitting in the second row of the near-capacity house was a young woman wearing a blue T-shirt with the sign of the horns (the gesture the cartoon characters Beavis and Butt-head were known for) and the legend “You Rachmaninoff.”

Alexander Gavrylyuk certainly rocked the Amphitheater Wednesday evening with Rachmaninoff’s Piano Concerto No. 3 in D minor, Op. 30.

Alexander Gavrylyuk, pianiste extraterrestre

Tribune du Genève - 3 June 2013  
Le cycle Rachmaninov s’est achevé au Victoria Hall sous une explosion de vivats

Neeme Järvi a raison d’être fâché. Ne pas avoir enregistré l’intégrale des concertos de Rachmaninov et la Rhapsodie sur un thème de Paganini données par le pianiste Alexander Gavrylyuk avec l’OSR est une erreur. La télévision a refusé: «manque de moyens». Le chef de l’OSR en est tout marri. «Qu’on ne me dise pas qu’il n’y a pas d’argent à Genève!…» avait-il alors rétorqué.

Alexander Gavrylyuk at Wigmore Hall – Mozart, Rachmaninov, Pictures at an Exhibition

ClassicalSource.com - 29 April 2013

When Alexander Gavrylyuk began this BBC Radio 3 Lunchtime Concert at Wigmore Hall there was little clue to the way in which he would end it. His softly voiced account of Mozart’s D major Rondo was genial and lucid, the right-hand phrasing varying a little in dynamics but with a nice sense of overall line and structure. Some serious Rachmaninov followed, with a stony-faced rendition of the G sharp minor Prelude, and a powerfully organic account of the G minor, growing to an impressive peroration. These fires were quelled somewhat by a sensitive account of Zoltán Kocsis’s arrangement of the Vocalise, with a slower return to the main theme that was nicely done.

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