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Andrei Gavrilov

A protégé of the fantastic Russian pianist Sviatoslav Richter, Andrei Gavrilov won the 1974 Tchaikovsky Competition, uncovering himself as, in what of Harold Schonberg, “a virtuoso, sometimes an explosive one, that has Horowitz intuition that aren’t yet in order.” Schonberg, reflecting a lot of the general sense about Gavrilov, also indicated appreciation for the artist’s character, a component notably lacking from the majority of his supremely well-schooled, but even more cautious contemporaries. Within the years since he surfaced therefore a vivid character, much continues to be exactly the same: Gavrilov continues to be a brilliant musician who does not necessarily command word his unquestioned assets, however high the amount of enthusiasm. Gavrilov started his musical schooling with his mom, who stressed the necessity to search for psychological content in functionality. In comparison, his second instructor, Tatiana Kestner, was something from the German college and emphasized type and musical tips rather than feeling. His official research concluded with Lev Naumov, an esteemed pedagogue who enforced some purchase on his youthful student’s unruly character. Being successful the 1974 Tchaikovsky Competition thrust Gavrilov in to the worldwide limelight and he shortly traveled abroad, initial to European countries and, by 1976, to Britain and America. Regardless of specific reservations harbored by critics, the general public was ecstatic and responded with position ovations in place after place. Gavrilov made an appearance with the best orchestras and undertook a tour of Japan in 1979. While Soviet officials had been delighted showing off their newest piano virtuoso, their satisfaction was changed by censure after reviews of Gavrilov’s vital remarks in regards to the condition of music within the Soviet Union reached their interest. Upon Gavrilov’s go back to Russia after his Japanese junket, he discovered his profession at full end. Only following a half-decade of extreme issues and his eventual lodging to the program was he have the ability to continue his overseas looks. Coincident along with his fresh tours, both critics and the general public had been quicker to touch upon his eccentricities and exaggerations. Still, those that longed for the solid stamp of character allied with an often-staggering technique continuing to price Gavrilov extremely. Those not luckily enough to find out Gavrilov personally have had obtainable several impressive recordings, included in this a disk of Chopin’s Op. 10 and Op. 25 etudes. His pacing is generally hair-raisingly fast, but a feeling of poetry is certainly never missing. While Gavrilov’s documenting of Rachmaninov’s Piano Concerto No. 3 released soon after his Tchaikovsky Competition success was rapturously acclaimed and earned numerous honours, a remake with Riccardo Muti was significantly less effective, sounding such as a compendium from the excesses and peculiarities observed in many from the pianist’s live performances. In the plus aspect again is certainly Gavrilov’s documenting of Balakirev’s tortuous Islamey, that is filled with sweep, interest, and amazing articulation. Gavrilov, rather amazingly, has provided some notable shows of Bach: the French Suites, concertos, as well as the Goldberg Variants were all focused on disc. After previously recordings for a significant label, Gavrilov was noticed on disc within the 1990s as part of the Model Monastery Maulbronn. In the brand new millennium, Gavrilov’s live performances remain dramatic occasions. Favoring tunics for concert outfit, long hair occasionally tied within a ponytail, he continues to be an extremely physical designer, twisting and bobbing in the key pad, gazing heavenward or looking at the target audience. Still intensely Passionate in his playing, he continues to be a brilliant specialist and, regularly, an illuminating designer.

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