IGOR GRYSHYN (PIANO) was born in Kharkov (Ukraine). He started learning the piano with Sergei Polusmiak at the Special Music School in his hometown and was admitted to the Special Music School of the Moscow State Tchaikovsky Conservatory in 1996, where he studied with Arkady Sevidov. From 1999 to 2005 he was a member of Professor Herbert Sahlings class at the University of Music and Theatre „Felix Mendelssohn Bartholdy“ Leipzig, where he received his diploma with honours as the youngest graduate in the institution's history. He decided to complete his postgraduate studies with Professor Gerald Fauth in Leipzig, gaining honours in the prestigious Master Class examination in 2010. An important artistic influence was the opportunity to prepare several solo programmes in lessons with Vladimir Ashkenazy; he also attended master classes with Vladimir Krajnew, Leslie Howard, Vladimir Ovchinnikow and others.
Igor Gryshyn has won prizes in international competitions in Japan, the Ukraine and Germany. He has given concerts in such important music centres such as the Gewandhaus Leipzig, Steinway Hall London, the Moscow Philharmonia, the Gasteig Munich and the Tonhalle Zurich, as well as in the Czech Republic, France, the Netherlands, Spain, Malta, South Korea, Lebanon and Yugoslavia. He has performed as a soloist with the Moscow Symphonic Orchestra under Alexander Anissimov, the Musica Viva chamber orchestra under Alexander Rudin and the Kharkov Symphonic orchestra under V. Kuzenko; he has also appeared as the duo partner of the soprano Regina Werner-Dietrich, the viola virtuoso Tatjana Masurenko and many others.His radio recordings include solo programmes with works by Bach, Ravel, Rachmaninov,Prokofiev and others for the Mitteldeutscher Rundfunk. Igor Gryshyn is a regular guest in the concert series Kunst & Justiz in the German Federal Administrative Court in Leipzig (Bundesverwaltungsgericht), as well as at the Schlosskonzerte Mannheim and the Leipzig Chopin Festival. His debut CD was released by querstand (Verlag Klaus-Jurgen Kamprad, Altenburg)in 2007, a production funded by the Association of Friends of the HMT Leipzig. Igor Gryshyn was appointed to teach part time in the piano department at the University of Music and Theatre „Felix Mendelssohn Bartholdy“ Leipzig in 2011.
Bach Busoni (live)
Rachmaninov, Sonate Nr.: 2 Finale (live)
|Johann Sebastian Bach||- French Suite G major
- English Suite g minor
- Italian Concerto BWV 971
- Partita a minor
- Toccata e minor
- Toccata D major
- Prelude a. Fugue from The WTC G major (Book I)
- Prelude a. Fugue from The WTC c minor (Book II)
- Prelude a. Fugue from The WTC c minor (Book I)
- Prelude a. Fugue from The WTC c sharp minor (Book II)
- Prelude a. Fugue from The WTC d minor (Book II)
- Prelude a. Fugue from The WTC g minor (Book II)
- Concerto f minor
|Johann Sebastian Bach - Ferruccio Busoni||- Chaconne d minor
- Prelude and Fugue D major BWV 532
|Johann Sebastian Bach - Carl Tausig||- Toccata and Fugue d minor BWV 565|
|Ludwig van Beethoven||- Sonata op.10 Nr.3 D major
- Sonata op.27 Nr.1 E flat major
- Sonata op.27 Nr.2 c sharp minor (quasi una Fantasia)
- Sonata op.31 Nr.3 E flat major
- Sonata op.53 C major "Waldstein"
- Sonata op.57 f minor "Appassionata"
- Sonata op. 81a E flat major "Les Adieux"
- Sonata op.101 A major
- 32 Variations c minor
- Concerto Nr.1 op.15 C major
|Friedrich Gulda||- Prelude and Fugue|
|Joseph Haydn||- Sonata Nr.21 F major
- Sonata C major Hob XVI/50
|Wolfgang Amadeus Mozart||- Sonata Nr.5 G major KV 283
- Sonata Nr.8 a minor KV 310
- Sonate Nr.13 B flat major KV 333
- Sonata Nr.16 C major KV 545
- Concerto Nr.17 G major KV 453
|Frédéric Chopin||- Etudes op.10, Nr.1,4,5.
- Etudes op.25, Nr.6,11,12.
- Fantaisie op.49, f minor
- Ballade Nr.1, op.23, g minor
- Ballade Nr.2, op.38, F major
- Ballade Nr.3, op.47, A flat major
- Ballade Nr.4, op.52, f minor
- Polonaise op.44, f sharp minor
- Polonaise op.53, A flat major
- Sonata op.58, b minor
- Scherzo Nr.2, op.31, b flat minor
- Scherzo Nr.3, op.39, c sharp minor
- Concerto Nr.1, op.11, e minor
|Franz Liszt||- Concert Etudes "Un sospiro", "Waldesrauschen", "Gnomenreigen"
- Etude Nr.6 from "Grand etudes de Paganini" a minor
- Trancendental Etude "Chasse-Neige"
- Ballade Nr.2
- Sonetto 104 del Petrarca
- Vergessener Walzer Nr.2
- Mephisto-Waltz Nr.1 A major
- Polonaise Nr.2 E major
- Hungarian Rhapsody Nr.2, 8
- Sonata "Apres une Lecture du Dante"
- Sonata b minor
- Concerto Nr.1 E flat major
- Reminiscences de Don Juan (nach W.A.Mozart)
- Spanish Rhapsody
|Daniel-François-Esprit Auber - Franz Liszt||- Tarantelle di bravura|
|Franz Schubert - Franz Liszt||- "Ständchen"|
|Robert Schumann||- Carnaval op.9
- Fantasie op.17, C major
|Robert Schumann - Franz Liszt||- "Widmung"|
|Peter Tchaikovsky||- Concerto Nr. 1 op. 23 b flat minor
- Romance op.5 f minor
- Nocturne op.19 Nr.4 c sharp minor
- Scherzo a la Russa op.1
- The Seasons op.37
|Peter Tchaikovsky - Mikhail Pletnev||- Concert Suite from "The Nutcracker"|
|Alexander Scriabin||- Etudes op.42 Nr.4, 5
- 12 Etudes op.8
- Sonata Nr.1 op.6, f minor
- Fantasy op.28
- Valse op.38
|Johannes Brahms||- 3 Intermezzi op.117|
|Sergej Rachmaninov||- Etudes-tableax op.39 Nr.1,5,6
- op.23 Nr.2 B flat major,
- op.23 Nr.7 c minor
- op.32 Nr.10 b minor
- op.32 Nr.13 D flat major
- Sonata Nr.2 op.36 b flat minor (I. Version)
- Concerto Nr.1 op.1, f sharp minor
- Concerto Nr.3 op.30, d minor
- Rhapsody on a Theme of Paganini op.43
|Hayk Melikyan||- Paraphrase über Themen aus der Oper "Howanschina" von M.Mussorgsky|
|Dmitri Shostakowich||- Concerto op.31 c minor|
|Sergei Prokofjew||- Sonata Nr.4 op. 29
- Sonata Nr.6 op. 82
|Maurice Ravel||- "Gaspard de la nuit"|
|Claude Debussy||- "Children's corner"|
|Béla Bartók||- Suite op.14|
|Igor Stravinsky||- Petrushka|
"The Sunday Times" March 30, 2003
The same stark reading was given to Mozart's Piano Sonata in B flat Major, K 333, a work that is as charming as it is unhackneyed.Here again Gryshyn did not go in for striking effects of interpretation but allowed the music to speak for itself, giving due importance to every note whether forming part of the melodic line or of the accompaniment or harmonic filler...
More virtuosity was to come in the second part of the programme which started with a performance of Chopin's Ballade No.1 in G minor. Gryshyn's technique and power of interpretation were here at their best...
Second Piano Sonata in B flat minor op.36 (S.Rachmaninov). It is in three movements the three of which, with the possible exception of parts of the second movement marked non allegro, are little more than a vehicle for the performer's virtuosity...
It is effective music and Gryshyn sailed through all the difficulties without any problems, each note sounding absolutely clear and giving attention to every detail.
The Times & The Sunday Times, Malta March 2004:
At age of 20, pianist Igor Gryshyn already boasts a number of high-profile concert appearances. His well-attended recital at the Manoel once again confirmed his considerable technique and musicality...
Scarbo (M.Ravel) was an excellent vehicle for Gryshyn's virtuosity, who relished the quirky touches of the work. In my opinion, however, the highlight of the work (and perhaps of the whole evening) was the central Le Gibet, with its ominously tolling figure and its general feeling of desolation...The pianistic fireworks of the work's second half also had a personal flavour since Gryshyn introduced his own Russian-tinged cadenza before the final thundering chords. (F.Liszt Hungarian Rhapsody No.2). A familiar piece perhaps, but no complaints when so excitingly played!
"Leipziger Volkszeitung" 1. Februar 2005:
Das zentrale Klavierkonzert Chopins (e-moll, op.11) liegt bei Igor Gryshyn in wunderbar schnellen und technisch perfekten Händen. Wobei seine durchdachte Gestaltung emotional an den Grenzen der Begleitung orientiert ist. Populäres Programm - und rundum ein Erfolg.
"Muldentaler Kreiszeitung" 5. Juli 2005:
...der erste Programmteil des Abends endete mit der bekannten As-Dur Polonaise von Frederic Chopin. Das hohe Tempo verdeutlichte die technische Brillianz des Pianisten, der scharf herausgearbeitete Polonaisenrhythmus ließ dem Zuhörer den Atem stocken.Nach der Pause interpretierte Gryshyn die Toccata D-Dur von J.S.Bach. Dieses Werk wirkte besonders im Ambiente des barocken Festsaales. Die meisterliche Tongebung verband sich in faszinierender Weise mit dem Hall des Raumes.
Mitteldeutsche Zeitung, Schönebeck März 2005:
Das Konzert für Klavier, Trompete und Streichorchester (D.Schostakovich) wirkte kühn und subjektiv. Es strotzte nur so von ironisch-distanzierter Haltung. Der junge Pianist Igor Gryshyn aus Charkow spielte ausdrucksvoll und mit lockerer Virtuosität. Viel Beifall und "Bravo"-Rufe zollte das Publikum den Solisten und dem Orchester, das sich einmal mehr als einfühlsame Begleitung profilierte.
The Times & The Sunday Times, Malta May 2005:
Igor Gryshyn's programme was well-balanced and chosen and began with the first two Ballades by Chopin. He projected the contrasts between the two pretty well...In the second half, Mr Gryshyn came back with Bach's Toccata in D, BWV 971. Here was a different kind of brilliance, a technical mastery which may have had an outwardly colourful appearance but remained baroque in spirit. With the two Etudes Tableaux from Rakhmaninov's Op.39 the pianist came back with two more balanced and contrasting pieces confirming further his interpretative versatility.