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As a post-graduate Yuri studied with Professor Vladimir Tropp at the Russian Gnesins' Academy of Music in Moscow, supported by the Ian Fleming Charitable Trust and the Sir James Caird Travelling Scholarship Trust. He has also received lessons from Tatiana Zelikman in Moscow, Alexander Satz in London and Alicia de Larrocha in Barcelona.
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More recent concert
activities include Yuri's participation in the international festival Piano à
Auxerre, his inclusion in a festival of British music held in Copenhagen, a
tour of Kazakhstan with Tchaikovsky’s First Piano Concerto, appearances in
Criccieth and Lower Machen festivals and a recital as the concluding event of
the Lewes Live Literature festival in the U.K. Yuri has recorded
Collage, a concerto for saxophone, piano and orchestra by Paul Carr with the
Sussex Symphony Orchestra for the Claudio label and his CD, SCRIABIN : LATE
PIANO WORKS was released to critical acclaim. Following this success,
Yuri was invited to record a double CD of Rachmaninov's works,
which was made Editor's Choice for Gramophone Magazine (September 2009) and ‘Disc of the Week’ for BBC Radio 3’s CD
Review. Yuri is a pianist who likes to maintain as wide a repertoire as possible, encompassing the mainstream repertory, more unusual works and music by living composers. Being an admirer of the visual arts, Yuri has a particular interest in repertoire inspired by visual elements.
CONCERTS - last updated on 1st March 2010 with new engagements and reviews
2011-12
Season Darlington Piano Society Darlington Arts Centre Theatre, Vane Terrace, Darlington Programme
to include Schubert Moments Musicaux, Medtner Forgotten Melodies Op 38
(Complete)
27th
March 2011
Mid
October 2010 Bishop Auckland Music Society Joint recital with Evgenia Startseva (solo and four hands) Programme to include a new work for piano four hands by Stephanie Cant: "Farewell to Weiss” Schumann Carnaval Op.9
23rd April 2010 Guildford Guildford United Reform Church Programme: Händel Suite in D minor (No.3 from 1733 set) Mozart Fragment einer Suite K399 Brahms Two Rhapsodies Op.79 Cant Sonatine Schumann Carnaval Op.9
15th
April 2010
26th March 2010 Matlock Joint Concert with Evgenia Startseva Programme to include: Mussorgsky Pictures at an Exhibition
16th March 2010 Colchester Bures Music Circle, Suffolk Joint concert with Evgenia Startseva. Programme to include: Händel Suite in D minor (No.3 from 1733 set) Mozart Fragment einer Suite K399 Brahms Two Rhapsodies Op.79
11th March 2010 St Olave's Church Hart Street , London . EC3R 7NB Lunchtime recital Programme to include: Händel Suite in D minor (No.3 from 1733 set) Mozart Fragment einer Suite K399 Brahms Two Rhapsodies Op.79
Early January 2010 London, St. George's-in-the-East (Shadwell/Tower Hill stations), Cannon Street Road, E1 0BH Solo recital
14th December 2009 London, St.Laurence Jewry, next Guildhall EC2 ( Moorgate, St Paul's, Bank)Oskemen Duo recital with Evgenia Startseva, (piano solo and 4 hands) Programme: Handel, Chopin, Brahms, Shostakovich
4th December 2009 St George's, Beckenham St.George's,High Street, Beckenham, Kent. BR3 1AX, solo recital Schumann Carnaval Op.9
26th September 2009 BBC Radio 3 CD Review. ‘Disc of the Week’ - Rachmaninov 1st Piano Sonata and Etudes-Tableaux Op.39 The programme runs from 9am-12.15pm. Yuri’s CD will be aired sometime from 11am. http://www.bbc.co.uk/programmes/b00mvd9l
Latest CD Launch Concert on Sat 3rd Jan 2009 at 7.30pm Rachmaninov: Sonata No.1 Op.28 / Etudes-Tableaux Op.39 This will take place at St Luke's Church, corner of Queens Park Road and Queen's Park Terrace, Brighton BN2 9YA A recital will take place of a selection of works from each cd, plus Schubert's F minor Fantasy for 4 hands. Tickets £6 (£5 concessions) available on the door. (Ticket price redeemable on purchase of a CD) Free glass of wine too!
Tuesday 18th November 2008 Bures Music Circle in Suffolk Joint solo and duo appearance with Evgenia Startseva Programme to include Schumann: Carnaval Op.9
June
28th 2008 Lower Machen Festival. Rachmaninov:
Sonata No.1 in D minor Op.28 Piano Duet with Evgenia Startseva : Lynne Plowman The Memaids’ Lagoon http://www.lowermachenfestival.co.uk/
Sunday 18th May 7pm 2008St George's Church, Kemptown, Brighton with: Marcel Scerri – tenor, Charlotte Shorthouse - mezzo soprano "Passionate Italian
Opera, sensual French Melodie and fiery Spanish Canciones with sumptuous piano
solos. An engaging programme of
heartfelt warmth for a balmy May evening" http://www.brightonfestivalfringe.org.uk/ Brighton Dome Ticket office 01273 709709
19th April 2008 Bach: Prelude & Fugue: F major Book II.BWV880 Bach: Prelude & Fugue: F minor.Book II. BWV 881 Haydn : Sonata in A-flat Hob XV1/46 Stephanie Cant: Sonatine Granados: The Maiden and the Nightingale Albeniz: Triana Rachmaninov: Sonata No.1 in D minor Op.28
21st February 2008 St Olave's, Hart Street (City of London). 1.05pm Bach: Prelude & Fugue: F major Book II.BWV880 Bach: Prelude & Fugue: F minor.Book II. BWV 881 Haydn : Sonata in A-flat Hob XV1/46 Stephanie Cant: Sonatine Granados: The Maiden and the Nightingale Albeniz: Triana 1st December 2007 Guildford United Reform Church Programme t.b.a
20th November 2007 Bures Music Circle Suffolk Programme t.b.a.
3rd August 2007 Welsh Millennium Centre, Cardiff Bay Grieg:Excerpts from Peer Gynt Suites No.1 & 2 (Transcription for piano 4 hands with Evgenia Startseva) Rachmaninov: 9 Etudes-Tableaux Op.39
1st August 2007 Welsh Millennium Centre, Cardiff Bay Schubert: Fantasie in F min for piano 4 hands Op.103 (with Evgenia Startseva, who will also play Prokofiev’s Vision Fugitives Op.22 and Shostakovich’s Preludes Op.34)
June 30th 2007Lower Machen Festival: lunch-time recital (with Evgenia Startseva) solo and 4 hands Shostakovich, Schubert, Mussorgsky
20th June 2007 Criccieth Festival (Wales) Mussorgsky: Pictures at an Exhibition. *Debussy: Epigraphes Antiques *Schubert: Fantasie in F min for piano 4 hands Op.103 *Grieg: Peer Gynt Suite No.1 (Transcription for piano 4 hands)
15th June 2007 St George’s, Preston Rachmaninov: Lilacs Schubert: Fantasie in F min for piano 4 hands Op.103 (with Evgenia Startseva, who will also play Prokofiev’s Vision Fugitives)
14th June 2007 Knowle Green Preston Luncheon Concert. Grieg: Peer Gynt Suite No.1 (Transcription for piano 4 hands with Evgenia Startseva) Mussorgsky: Pictures at an Exhibition. August 26th 2006 August 22nd 2006
Friday 16th June 2006
12.30pm
Thursday 15th June
2006 Luncheon Concert Series Wednesday 31st May 12.30pm 2006 Friday 19th May 7.30pm 2006
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“There are bigger-name pianists, hordes of them. And yet Yuri Paterson-Olenich delivers, for my money, one of the most compelling Rachmaninov discs of the year. He never spares himself in probing the often uncomfortable emotional depths of this music, while his virtuosity yields pride of place to no one. I've already listened to it three times.” - James Inverne (editor, Gramophone Magazine)
“Having given us a Scriabin recording of rare commitment, Yuri Paterson-Olenich continues with a two-disc Rachmaninov set of even greater poetic force and conviction. Everything is reconsidered in playing devoid of all easy options, intent only to cast a burning light on a dark and turbulent inner spirit. Powerful and measured, Paterson-Olenich’s playing allows every one of the composer’s maelstrom of notes to tell, and the First Sonata’s magnificent if sprawling edifice is lit by one revelation after another. Here again, there is none of that impersonal, hard-bitten brilliance of the jet-setting virtuoso (Weissenberg on DG, 4/90— nla) and when you listen to the first movement development (like being at the centre of a vortex) and final pages given with such breadth and understanding you are hearing a pianist born for Rachmaninov.
“The Op.39 Etudes-Tableaux, always among the composer’s richest offerings, present the same moving force and involvement. No 1 in C minor is again so individually characterised (no “knife through butter” in a more familiar virtuoso style) while No 6, launched with an exceptionally menacing opening, is all snarls and snapping teeth (it is based on the legend of Red Riding Hood). He makes it clear that No 7 is among the most audacious and indelibly Russian of all Rachmaninov’s works and throughout this entire programme you are made frighteningly aware of Rachmaninov’s demons, of his confession that “sometimes I think someone will come down the chimney and murder me”.
“All this, superbly recorded and with accompanying notes by the pianist forms a deeply personal tribute to a still misunderstood composer. No lover of Rachmaninov should be without it.” - Bryce Morrison (Gramophone Magazine) Article available through the Gramophone online archive: http://www.gramophone.net/Issue/Page/September%202009/73/1003506/
Disc
of the Week in BBC Radio 3’s CD Review Programme: “You may not have encountered Yuri Paterson-Olenich before, but if you get the chance to hear him perform, make the most of it – judging by the qualities on show in this Rachmaninov recital, I suspect it’ll make for a memorable live encounter. “Paterson-Olenich is a Brit, born in Brighton, and who studied in Moscow. Even without knowing that, there’s something inescapably Russian about the way he plays Rachmaninov; the free-flowing romanticism, the surging tempos, and the waves of colour that can be almost overwhelming in the First Sonata. This is Rachmaninov in Dresden in 1907, escaping the revolutionary upheaval at home in Russia, and perhaps encompassing some of that personal and political turbulence in a work composed on a truly symphonic scale. Although Rachmaninov never managed to realise his plans to turn the sonata into a fully-fledged symphony (it proved too “purely pianistic” to orchestrate, he told a friend), it needs a player who can tap into an orchestral palette to encompass its epic breadth, from the deceptively simple brooding opening to the cascades of bells in the coda. “Paterson-Olenich muses in his notes that it might be this orchestral style of writing that prevents more pianists from scaling its heights. Or perhaps it’s a realisation that they can’t inhabit the score in quite the way he does, with a sense of the essential Russian-ness of the music, the darkness and melancholy at the heart of so much of it, despite the glowing magnificence of the more extrovert pages. “The same applies to the op. 39, Etudes-Tableaux. After the sprawl of the sonata, these aren’t mere miniatures; they’re more like fiercely-focused microcosms, intensified by being presented and played as they are here. It’s not the finest recorded piano sound I’ve ever heard – a little restricted and boxy when you’re hoping for something that puts a halo around the sound rather than pulling you inside it – but you’re over that swiftly as the playing and music overwhelm any reservations. I missed Paterson-Olenich’s Scriabin disc for the same label, but after his Rachmaninov recital I really need to hear it.” - Andrew
McGregor (BBC Music) Online Review: http://www.bbc.co.uk/music/reviews/vv4h Programme details: http://www.bbc.co.uk/programmes/b00mvd9l “The
initial impression of Paterson-Olenich is that of a pianist with technique to
burn. Rachmaninoff's unique blend of intricately convoluted note spinning,
keyboard calisthenics, and windswept melodic outpourings presents no obstacles
to him…Paterson-Olenich's Etudes-Tableaux are mischievously mercurial in the
fast numbers and poignantly poetic in the slow ones…Meanwhile, I look
forward to hearing more from Paterson-Olenich, who gives evidence of being an
exceptionally fine artist.” -
Jerry Dubins (Fanfare Magazine) “Here he shows himself to be a natural Rachmaninoff performer, with playing of intense focus and commitment. He doesn’t shy away from the raw emotionalism of the composer’s music, yet there is also a gritty urgency to his playing that keeps his interpretations a pole apart from the Hollywood-style sentimentalism. “Paterson-Olenich makes every note tell, in playing that is the opposite of glib. He revels in the sonority and colours of the instrument, which is essential in Rachmaninoff, but there is no superficial sheen to his sound…this comes with a conviction and sheer humanity that is compelling, and preferable to the sort of blithe virtuosity that can often be emptily anonymous. “The same characteristics of raw emotional force and intensity are evident in the Op.39 Etudes-Tableaux…Paterson-Olenich gives each piece a strongly etched character. It makes the C minor no.1 unusually rugged, and gives no.2 an undertow of unease that never allows its singing lines to settle into lyrical repose…In the opening of no.6 he projects a truly menacing presence…In no.7 once again the penetrating focus of his imagination makes something special of one of Rachmaninoff’s most forward-looking creations…a welcome antidote to virtuoso complacency. Warmly recommended” -
Tim Parry (International Piano Magazine) "...his recital,
with its opposing elements of dark and light...is given with rare sensitivity
and commitment...Time and again he allows one to savour every aspect of
Scriabin's neurotic sensibility...playing with spaciousness and lucidity,
never whirled into obscure agitation by the composer's idiosyncratic
directions...Vers la Flamme is menacingly controlled before the final
conflagration, the stream of chromatic ninths in the first of Op 65 Etudes is
always musically directed rather than made an excuse for obvious flamboyant
virtuosity...An exceptional, very personal issue." Bryce
Morrison, Gramophone "Yuri
Paterson-Olenich produced a performance [of the Goyescas] which
certainly drew every ounce of colour out of a piano…It was a tribute to his
musical prowess that he was able to enthral his listeners from start to
finish, creating as much tonal and dynamic contrast as humanly possible,
allied to a sensitive touch and a wide emotional range which succeeded in
effectively characterising the individual movements. The playing was also
technically assured in the often highly virtuosic writing…" Philip
R Buttall, Plymouth Evening Herald “Pianist Yuri Paterson-Olenich turned to the virtuous keyboard reverberation of Rachmaninov’s cycle of Etudes-Tableaux from Op.39, swaying between both detached austerity and ecstatic intimacy, demanding the execution of a lofty piano technique. With pliant hands, a burnished sound and power, but also with considerable transparency, Paterson-Olenich delivered that, which Rakhmaninov’s score called for. A superior and singular achievement.” Saarbrücker Zeitung 15.01.2005 “Two of Bach’s preludes and fugues…in F major and F minor were played with sharp-fingered clarity and sensitively-balanced responses to Bach’s musical demands, especially in the lively fugue. In Haydn’s A flat Sonata... 18th century grace and elegance was projected in full with, in the presto finale, a definite nod in the direction of rustic humour in its twists and turns.He then turned his attention forward 200 years to the Durham composer Stephanie Cant, whose lively and engaging four-movement Sonatine is very much of today, though firmly based in established forms; dynamic in the impulses that drive the scherzo, a cathedral-like calmness to the central meditation, and with a jaunty, driven, florid even, energy giving impulse to the final rondo, with its return of the opening themes. Granados’ Maiden and the Nightingale and Albeniz’s Triana provided images of Spain full of scented night air in the former and of festive flamenco in the latter. Rachmaninov’s First Sonata in D minor…relished to its very Russian core by this pianist. The performance – redolent of wide spaces, open skies, incense-laden orthodox church, bells and grandiloquent flamboyance of orchestral scale – rounded off a memorable season with a grandstand finale” – Dave Robson, Darlington and Stockton Times 25.04.2008 |
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