Youri EGOROV
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“It
is
very
difficult
to
play
Brahms,
op.
118.
It
is
like
a
confession,
coming
from
the
heart,
there
is
nothing
invented,
nothing
artificial
in
it.
It
is
music
of
a
genius.
It
is
difficult
to
play
as one must be and authentic musician one self.”
Taken from the diary of Youri Egorov
"I
have
submitted
a
completely
idiotic
program.
Why?
I
could
have
confined
myself
to
Bach,
Bartók,
and
op.
10
by
Chopin.
But
I
didn’t,
I
wanted
to
show
off:
Just
look
what
that Egorov is capable of!"
Youri Egorov
“I
very
much
like
Ravel’s
Miroirs.
He
was
a
sad,
solitary
being.
All
the
pieces
from
this
cycle
are
very
mystical.
This
is
heartrending
music.
The
Oiseaux
tristes
progress
…
I
see
a
deep
forest.
And
the
bird’s
cries.
I
like
Ravel.
He
is
difficult
to
read,
but
once
one
progresses, I feel him well.”
Taken from the diary of Youri Egorov
“I’d
like
to
study
some
of
Chopin
Mazurkas.
This
morning,
I
heard
them
on
the
radio,
by
I
don’t
remember
which
pianist:
it
was
not
very
sincere.
It
is
difficult
to
imagine
that
one
person
feels
music
than
another.
How
I’d
say
it
–
more
authentically,
more
sincerely
…
”
Taken from the diary of Youri Egorov
“You
can
congratulate
me
with
my
wonderful
concert
are
the
Gulbenkian
Foundation.
I
played
5
Sonatas
by
Scarlatti,
Schubert’s
c
minor
Sonata
and
Prokofiev’s
8th.
As
an
encore,
the
last
piece
from
Brahms
op.118.
The
hall
was
full,
the
acoustics
perfect,
the
piano
fantastic.
What
more
could
I
wish?
I
was
concentrated,
calm.
If
I
had
more
such
concerts,
I’d
be
happy
…
It
is
so
pleasant
to
come
on
stage
after
the
concert,
to
know
that
one
has
played
well
and
hear
the
cheers
of
the
audience.
It
is
a
very
pleasant
feeling … (Lisboa, 23/01/87).”
Taken from the diary of Youri Egorov
“I
played
Schubert’s
Moment
Musicaux.
Slowly,
filling
myself
with
the
music,
whose
sadness
is
so
breath
trending.
One
must
perform
Schubert
with
sincerity
and
purity;
I
mean,
not
naively,
but
with
an
angelic
goodness;
sometimes
with
flame,
but
without
bravura.”
Taken from the diary of Youri Egorov
“This
man
is
a
very
interesting
pianist
…
one
looks
forward
to
this
future
appearances.
He
has
all
the
ingredients
fro
success:
there
are
not
many
young
pianists
in
recent
years
who have so managed to involve an audience”
Harold G. Schonberg, The New York Times
“Egorov
pays
dividend
…
Youri
Egorov,
a
23-year-old
Soviet
(defector),
didn’t
even
make
the
finals
of
the
last
year’s
Van
Cliburn
International,
in
Fort
Worth,
Tex.,
but
many
in
the
audience
there
thought
he
should
have
copped
the
big
prize.
To
underscore
their
faith,
they
raised
$10.000
to
further
his
career
…
-
pianists
of
technical
excellence
are
a
dime
a
dozen
these
days,
but
those
of
Youri
Egorov’s
imagination
are
still
a
premium.”
Bill Zakariasen, The New York Daily News
“What
was
important
Sunday
was
not
the
repertory
but
the
manner
in
which
it
was
played,
the
fine
sense
of
dynamics,
the
sure
sense
of
phrasing,
the
cultivated
approach
to
problems
of
texture
and
accent,
and
the
rhythmic
stability
that
supported
a
stro9ng
legato
line.
Egorov
has
his
won
sound,
warmer
and
richer
than
the
familiar
Horowitz
sonorities,
and
although
he
is
a
great
virtuoso
(look
at
the
way
he
romped
through
the
Liszt
encore,
he
projects
a
strong
musical
personality
while
revealing
slight
interest
in
showmanship as such.”
Robert C. Marsh, Chicago Sun-Times
“Egorov
is
evidently
an
intuitive
interpreter,
and
all
his
instincts
in
Chopin
and
Schumann
were
right
…
the
biggest
and
most
poetical
young
pianistic
talent
I
even
encountered
…
he
seems
a
Baryshnikov,
not
a
Nureyev,
of
the
concert
world.
May
he
survive
unspoiled.”
Andrew Porter, The New Yorker
“The
soft
playing
was
not
just
poised,
penetrative,
and
unfailingly
beautiful,
it
had
a
quality
of
musical
responsibility,
forcing
one
to
listen
anew
to
the
exact
nature
of
Brahm’s D minor Concerto invention … ”
Max Loppert
“Not
since
Murray
Perahia
has
this
writer
heard
Schumann
performed
with
such
glowing
romantic ardour and impetuosity tempered by such a wealth of poetic detail”
John van Rhein, Chicago Tribune
“Egorov
is
surely
one
of
the
three
of
four
finest
pianists
of
his
generation.
When
he
plays, he does not seem to interpret music so much as he seems to become it.”
Stephen Wigler, Democrat and Chronicle, Rochester
“His
performance
of
Kreisleriana
was
perhaps
the
first
I
have
heard
that
convinced
me.”
Bill Zakariasen, The Daily News
«
...
Egorov
is
a
new
discovery
for
me
(I
only
knew
his
name),
and
what
a
discovery!
This
is
playing
that
moves
me
so
much.
The
technique
is
perfect,
the
sound
is
full,
warm
and
varied,
architecture
wonderful,
great
mixture
of
emotional
instinct
and
intellect,
and,
as
you
put
it,
so
sincere
and
honest.
This
honesty
is
very
rare
today
and
I
was
very
touched
to
find
this quality in Egorov’s playing ...”
Leif Ove Andsnes, May 1996
“Now,
the
Egorov
tapes
are
of
course
great
!
And
you
are
right
–
Schumann
is
very
special
with
him.
Especially
Bunte
Blätter
(piced
I
didn’t
know
very
well
from
before
–
beautiful
!),
parts
of
Carnaval
are
amazing,
but
most
of
all
–
Kreisleriana
!
I
never
heard
such
a
deep
Kreisleriana.
For
the
first
time
I
really
wanted
to
play
this
gigantic,
but
problematic
piece.
For
example
the
last
piece
:
for
the
first
time
this
one
made
sense
to
me
–
mysterious,
pianissimo
and
with
the
right
and
left
hand
living
their
own
rhythmical
lives.
This
one
also
becomes so mysterious because the previous piece (no. 7) is so fiery – phenomenal !”
Leif Ove Andsnes, September 1996
"The
truth
seems
to
be
that
Mr.
Egorov
is
one
of
a
dozen
or
more
highly
gifted
pianists
of
his
generation
who
are
working
to
establish
clear
identities
with
the
musical
public.
His
progress
so
far
has
been
remarkable,
not
only
in
the
concert
hall
but
in
the
recording
studio,
but
it
is
too
soon
as
yet
to
say
that
he
has
separated
himself
from
the
pack.
If
he
is
a
major
talent,
he
will
pull
away
from
the
others
in
the
next
few
years.
If
not,
he
will
still
be
a
sensitive pianist with a great deal to give."
Donal Henahan, The Ney York Times
"There
is
so
much
humanity
and
warmth
in
Egorov's
playing
that
something
new
is
found
in
even
the
most
familiar
pieces.
The
Chopin
pieces
especially
stand
out
as
amongst
the
beautiful
playing
of
any
instrument
I
have
heard.
There
is
a
deeply
moving
honesty
and
integrity in these recordings that is difficult to put into words."
Sir Hesket Newmarket
Egorov's posthumously released CD, "Legacy 2: Youri Egorov", received the
"Perfect Five-Star Rating"
CD Review Magazine
"Youri
Egorov
-
A
Russian
pianist
who
emigrated
to
The
Netherlands,
Egorov
has
an
incredibly
polished
technique
which
he
put
solely
to
musical
use.
He
made
some
of
the
best
Schumann
recordings
ever,
and
some
live
performances
of
him
in
20th
century
repertoire
reveal transparent textures and a kaleidescopic framework. One of the all-time greats."
Mark Ainley, thepianofiles.com
"My
conclusion
on
Bunte
Blätter,
Opus
99:
each
of
the
three
reviewed
versions
is
rewarding
with
Egorov
taking
the
lead
with
an
excellent
set
of
performances.
Lasr
Vogt
is
very
enjoyable
and
should
appeal
to
most
listeners.
Concerning
Arcadi
Volodos,
his
version
is
a
good
one
for
those
who
like
their
Schumann
on
the
"smooth
and
suave"
side
...
my
overall
perception is that Egorov is the most consistenly satisfying of the three artists."
Don Satz, Classical Net
“Clearly a master pianist of the highest rank.”
The Financial Time, London
“Exuberant virtuosity, formidable command of pianist sonorities and sensitive, poetic feeling.”
Time magazine
“A true virtuoso.”
Los Angeles Herald-Examiner
“This may have been the greatest piano recital I have ever heard.”
Daily News (New York)
“The
seven
sections
of
Kreisleriana,
always
hard
to
hold
together,
were
not
only
unified
coloristically
with
a
plush,
near-Straussian
sense
of
sound
imagination,
but
also
were
roughly
grouped
into
three
sections,
each
defined
with
a
grand
scheme
of
tempos
and
articulation.”
Musical America
“He
walked
out
on
the
stage
–
a
slender,
handsome
you
man
with
jet-black
hair
and
gentle
eyes
–
like
a
lamb
about
to
be
slaughtered
by
the
Brahmsian
bear.
He
sat
quietly
through
the
ling,
snarling
orchestral
introduction
and
then
played
the
piano’s
subdued,
pleading
first
entrance
with
an
expressive
persuasiveness
that
made
my
eyes
moisten.
Several
minutes
later
–
by
the
time
Egorov
played
the
movement’s
famously
difficult
double
octaves
with
thunderous
power
equal
in
intensity
to
his
initial
lyric
gentleness
–
I
whispered
to
a
friend,
This kid is so good that I can’t believe it.”
Baltimore Sun, Brahms D minor Concerto (1979)
Youri
Egorov
was
an
outstanding
keyboard
colorist.
He
left
behind
several
fine
recordings,
and
this
is
my
favorite
among
them.
You
could
almost
define
the
concept
of
tonal
color
at
the
piano
by
listening
to
the
way
Egorov
plays
Debussy,
shading
the
sound
of
the
notes
with
the
subtlety
of
a
great
water-colorist.
The
technical
demands
of
the
music
don't
seem
to
exist
in
these
fluent,
graceful
performances,
among
the
greatest
of
Debussy's
music
I've
ever
heard.
EMI's
digital
recording
captures
it
all
with
great
success.
The
Debussy
Preludes
Book
I
&
II
release
is
not
only
Egorov's
best
memorial
but
an
outstanding
example
of
great
pianism.
Leslie Gerber
His
Kreisleriana,
thrillingly
passionate
yet
disciplined,
is
as
remarkable
as
Argerich’s,
though,
of
course,
different.
The
Toccata
is
perhaps
the
most
perfect
of
all,
much
of
it
light
and
delicate,
without
any
liberties
for
technical
convenience.
The
Arabeske,
too,
is
all
the
more
impressive
for
being
restrained,
without
special
pleading,
and
the
coda
acquires
a
distilled
intensity
of
feeling
which
is
breathtaking.
The
rich,
intriguing
collection
of
Bunte
Blätter
has
the
edge
on
Volodos’s
charismatic
live
recording.
An
absolute
must
for
lovers
of
some of the most beautiful piano music ever composed.
Adrian Jack, BBC Music Magazine
