Andrey Gugnin

Biography Highlights

Andrey Gugnin has performed with the London Philharmonic Orchestra, the Danish National Symphony, the Sydney Symphony and the BNR Symphony Orchestra among others, under conductors Jaap Van Zweden, Reinbert de Leeuw, Daniel Raiskin, Stanislav Kochanovsky, Dmitry Matvienko and Asher Fisch.
Upcoming engagements include a debut at Wien Konzerthaus, performances in London, New York, Germany, Austria, Portugal, Singapore, Taiwan and Australia, with the Nagoya Philharmonic Orchestra in Japan and Orquesta Clásica Santa Cecilia.
Gugnin is a regular guest of Musikverein Wien, Auditorio Nacional de Música, Madrid, Victoria Hall, Carnegie Hall, Opera Australia, the Auditorium du Louvre, the Tokyo Metropolitan Theatre, the Verbier Festival, Klavier-Festival Ruhr, the Dubrovnik Summer Festival and the Cziffra Festival.
As a recording artist, Andrey has published a broad scope of repertoire, ranging from works for solo piano to concertos. His release of Liszt's Transcendental Studies (Piano Classics, 2018) was Editor's Choice in Gramophone. His recording of Shostakovich concertos (Delos International, 2007) was featured in the soundtrack of Steven Spielberg's Oscar-winning film Bridge of Spies, and Shostakovich's 24 Preludes and Piano Sonatas Nos 1 & 2 won him the "Instrumental Album of the Year" award from BBC Music Magazine (2020). Critics highly acclaimed his latest album with Grieg's music (2023), which became "The record of the month" for Hyperion record label. 

He won first prizes at the international piano competitions in Sydney, and Dubai, the German Piano Award and the second prize at the Beethoven Competition.

Discography

Grieg: Holberg Suite, Ballade & Lyric Pieces

Scriabin Complete Mazurkas

Homage to Godowsky

Dedication to Vera Gornostayeva (Live)

Shostakovich 24 preludes op 34 • piano sonatas opp 12 & 61

SCHUBERT / ENESCU / BRAHMS

Liszt Transcendental etudes

Zaderatsky 24 preludes and fugues

Reviews & Press

Holberg Suite, Ballade & Lyric Pieces CD

Gugnin ripples his way through the Holberg Suite in its original piano solo guise, radiating poise, affection and respect for its Golden Age retrospection … Gugnin lavishes immense sympathy and finesse on [the Ballade], keeping a close eye on the balance and emotional logic of the variations, and making a persuasive case that its absence from the concert hall is very much our loss … the Lyric Pieces, it might be thought, need no special advocacy, given the standards set over the years by the likes of Gilels, Andsnes, Hough and Kozhukhin. But advocacy can take many forms, and Gugnin’s is as special as anyone’s as he follows Grieg’s flights of fancy into nature, mood-pictures and dreamscapes with equal acuity

 

Gramophone

Andrey Gugnin has arrived at an ideal variety … any monotony in repeats is avoided by Gugnin’s hypersensitive touch: listen to the way, for example, he leads back to the main idea of 'Butterfly'. The tender inwardness of ‘In my native country’—surely the perfect encore—and ‘Erotikon’ could hardly be treated more poetically. A well-placed collection of multifacted jewels’

 

BBC Music Magazine

Andrey Gugnin has shown us before in his recordings of Shostakovich and Scriabin what an extraordinary amount of technique and colour he has, and it’s a perfect fit here in the way he encompasses not just the tints and poetry of these miniature tone poems but also the poise of the Holberg Suite and the more ambitious scope and grandeur of Grieg’s Ballade, his rather melancholy variations on a Norwegian melody. Effortlessly realistic recording as well—this is Grieg captured to perfection

 

BBC Record Review

SHOW MORE

Festsaal – Ein Geiger von Rang

Das war alles sehr durchdacht, was das Duo dem Werk angedeihen ließ. Expressiv genug, auch mit viel Agogik und fein abgestimmten Ritardandi oder Straffungen, mit klarer, auch mal sehr kraftvoller und immer vollkommen reiner Tongebung in der Violinstimme und genau dosiertem Anschlag am Flügel. Weder überbordendes Gefühl noch demonstrative Virtuosität verstellten den Blick auf die Musik. Ungeheuer flott war der Galopp des Finales, aber beide Musiker gaben den rasenden Läufen, für die in den Couplets oder Intermezzi immer wieder Atem geholt und Anlauf genommen wurde, durch hauchfeine Impulse phrasierende Struktur. Wunderbar war das und wurde mit langem Beifall bedacht.

 

- Martin Bernklau , cul-tu-re.de

Read this article

Links