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Alexander Gavrylyuk – transcendental pianism at Waikanae

Middle C
22 October 2017, Recital at Waikanae

"... Gavrylyuk’s playing seemed to take us as far as was physically possible on the piano towards the sheer impact of the organ’s power and majesty ..."

Alexander Gavrylyuk's Solo Recital at the Space Theatre

October 26, 2017

"... Gavrylyuk gave a seemingly effortless display of pianistic power of the most breathtaking kind ..."

BBC Proms 2017 - A Selection of Reviews

Gavrylyuk performing Rachmaninoff Piano Concerto No. 3 in D minor at the Royal Albert Hall, 13 August 2017

“Alexander Gavrylyuk’s electrifying performance of Rachmaninov’s Third Piano Concerto at the BBC Proms … was a revelation. BBC Radio 3 and Channel 4 Television transmitted a truly grand musical occasion in which Gavrylyuk redefined the work’s dimensions as perhaps only the composer and Horovitz themselves managed. … Alexander Gavrylyuk is, easily, the most compelling pianist of his generation. As Schumann said of Chopin: “Hats off gentlemen, a genius.” … His love of Rachmaninov’s searing cantilena shone like a beacon, as it unfolded phrase by phrase, cadence by cadence, to crucial dramatic points. His pacing of motivic development and tempi rubato throughout revealed a deep understanding of the work’s elusive inner dialogue. From a palette of a thousand softs, he recalled the tenderness of: Sviatoslav Richter’s Schubertian caresses, of Ashkenazian thunder and lightning, and of the Argerich maelstrom. The 33-year old’s equally loving attention and mastery of sequential suspensions and fermata was, at all times, the result of a formidable intellectual grasp. I was struck most especially, by the soloist’s mesmeric handling of the opening movement’s longest cadence which builds for the most part, on an extended dominant pedal for the main cadenza. I was equally impressed by his mastery of Rachmaninov’s enraptured resolution of the main cadenza … It is refreshing to experience completely new interpretations of traditional masterpieces by a monumental master of the piano who is, also, modest (and not falsely so), who is unassuming and completely dedicated to his art.”
*Roger Woodward, Limelight, 13 September 2017
 
“Even in the short cadenza this Ukrainian-born Australian pianist maintained a ruminative eloquence, his warm tone blending perfectly with that of the orchestra. But the finale of this much-loved work requires a very different kind of pianism, and here too Gavrylyuk shone, digging furiously into the keyboard to galvanise an orchestra which was more than ready to be galvanised to create the barn-storming close. After which his encore – Rachmaninov’s exquisitely-turned arrangement of his Vocalise – brought us back to the initial mood of hushed benediction.”
*Michael Church, The Scotsman, 19 August 2017

“Gavrylyuk’s ease with Rachmaninov’s passagework was startling. Technique is one thing, taste is another. His triplets and trills were pert and crisp, the dissolves from smiles to sadness, and the clarity and quietness were revelatory. The seven long seconds of silence after Gavrylyuk’s encore of the Vocalise were the greatest tribute any soloist could want at the Proms, but were surely shared with the orchestra, choir and Dausgaard.”
*Anna Picard, The Times, 15 August 2017

"There was a strikingly collegiate approach between pianist and conductor ... Here was a pianist in command of the music and the music in command of him. This Ukrainian pianist impressed by his fluid projection of the music’s quiet confidences and silvery tendrils ... Gavrylyuk, in the second movement, astonished with his leisurely floating mayfly treatment before a taut finale, in which time and again the stopped horns leered atmospherically over the pianist’s statements. There was excitement and drama of course, and this washed over the audience, culminating in that final crashing wave. The applause was emphatic. Gavrylyuk gave an encore in the shape of a delicately chimed arrangement of Rachmaninov’s Vocalise."
*Rob Barnett, Seen and Heard International,16 August 20, 

” … there was plenty of fresh food in soloist Alexander Gavrylyuk’s singular take on “the Rach Three” … Gavrylyuk was mystically soft in that opening, only opening out to orchestral-style roars at key points as well as the leonine cadenza which so strikingly takes the place of a straight recap. His most individual facet was his Puckish wit, transcendentally sparkling, laugh-out loud in a scherzo glissando and mercurial in the high-wire acts of the finale.”
*David Nice, theartsdesk.com, 14 August 2017

“The piano’s opening phrases were entwined by a creeping bassoon line that crooned like a cantor. Gavrylyuk offered a delicate, reverent account, low on flash and glitter and the barnstorming decibels often heard in this repertoire staple. He often played on the sonorous tintinnabulations of Rachmaninov’s chords, while faster passages rippled with clarity.”
*Mark Pullinger, Bachtrack, 14 August 2017

 

A playful and drama filled evening with the Melbourne Symphony Orchestra.

Performing Arts Hub
25 May 17 Tchaikovsky Piano Concerto No. 1 Hamer Hall, Melbourne

Alexander Gavrylyuk at St John’s Smith Square

Classical Source
03 May 17 International Piano Series Solo Recital, St. John's Smith Square, London, playing Bach/Busoni, Haydn, Chopin, Prokofiev, Rachmaninov, Balakirev.

"Gavrylyuk laid down the music’s layers with a care that crafted the character of each piece..."

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