On her own, GG recorded a CD with works by Bach, Haydn, Rachmaninoff and Prokofieff. If you are interested in this CD, which is not available in stores, please send an e-mail to email@example.com
J. S. BACH (1685-1750)
TOCCATA E-MOLL BWV 914
01 Un poco allegro à 4 2’21
02 Adagio 2’06
03 Fuga à 3. Allegro 2’55
R. SCHUMANN (1810-1856)
S. PROKOFIEFF (1891-1953)
S. RACHMANINOFF (1873-1943)
Total time 62’46
Every Note of Interest – Gabriele Gylyte between Bach and Rachmaninov
No one could claim that here is a pianist who shies away from extremes, a point that Gabriele Gylyte has learned from her piano professor Lev Natochenny, whose “Meisterklasse” in Frankfurt she has been a member of since 2003. Natochenny has repeatedly shown a sure hand in selecting his students and accepts only those who demonstrate an outstanding potential. And the Russian professor with a real gift for moulding new talent knows that a pianist is allowed to do anything but bore the audience. “Everything, every note has to be interesting” he says. “A single uninteresting second, and you’ve lost your audience.”
In her new CD Gabriele Gylyte, explores to the fullest the Janus-faced nature of Schumann’s “Faschingsschwank aus Wien”: she attacks the opening Allegro with tempestuous impetuosity, bringing power and pure virtuosity to the movement. But then, in the second movement, titled “Fairly slow”, she achieves a sense of stratospheric state in which time appears to be suspended, a character-piece concealed behind the most delicate of veils. In general Gabriele Gylyte adopts a highly sensitive approach to this muted aspect of Schumann, thereby bringing out more clearly the contrast with movements titled “Extremely lively” and “With greatest energy”.
Gabriele Gylyte aims to captivate her audience with every bar and every note, a goal which she achieves in music of diverse periods. Her Bach, for example, is the very opposite of ascetic. Rather, she explores all the colours of a modern grand piano. As with Schumann, she creates powerful contrasts by means of subtle shadings: in the E minor Toccata BWV 914, for example, she draws a clear distinction between the four-part fugue “un poco allegro” and the toccata opening by ensuring that this opening section is as simple and as wistfully dreamlike as possible. Her long arched breathing paragraphs create a sense of open spaces. The final fugue is all the more brilliant with its virtuosic movement, a threeminute exercise in the most carefully differentiated tone colours achieved by the pianist’s cultivated touch.
“A single uninteresting second, and you’ve lost your audience,” says her mentor. There is little chance of this happening with Gabriele Gylyte.
St. Schickhaus (Translation: Stewart Spencer)
Gabriele Gylyte plays Scarlatti in Frankfurt, 23. Nov. 2007