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Preludes and pictures: Alexander Gavrylyuk debuts at Wigmore Hall - 29 April 2013

Stepping in for the indisposed Cédric Tiberghien, the Ukrainian-born Australian pianist 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 performs Rachmaninov's Piano Concerto no.3 at the Concertgebouw

27 March 2013 - Royal Concertgebouworkest/Vladimir Jurowski, Concertgebouw, Amsterdam

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

Gavrylyuk plays Rachmaninov Piano Concerto no.3

ABQ Journal - 15 March 2013
New Mexico Philharmonic/Hélène Bouchez, Popejoy Hall, Albuquerque

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.

Alexander Gavrylyuk

Arts Hub - 20 February 2013

What can be written about pianist Alexander Gavrylyuk than has not already been canvassed by an adoring press, here and overseas?

Gavrylyuk Solo Recital, Melbourne Arts Centre

The Age - 16 February 2013

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.

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