on 5 October 2024

Photographs by David Hogg of Horizon Imaging.

For each recital at Breinton, I prepare a promotional write-up and create a title to publicise it. When I looked at Sofya Gulyak’s chosen programme, I gave her recital the title “Astonishing Pianism”. And that is exactly what we heard last night.

Sofya’s programme, dotted with transcriptions, was full of the explorations of musical expression and imagination that broaden the borders of the pianistic capacity. Bach-Busoni’s Chaconne was a chordal miracle; the sheer variety of her keyboard touches, from that of a heavy stone to wafer-thin feathers, was mesmerizing. An almost impossible number of notes were played but all were clear, with a statement. In Franck’s Prelude, Fugue and Variation and Bach-Busoni’s Chorale Prelude and Toccata e Fugue, we heard countless layers and textures of voices.  She had a special ability to involve the audience to breathe in the music together. Throughout the first half, we enjoyed the huge contrast between the ironclad authority and angelic stillness and calmness.

If the first half was characterized by solemn and majestic beauty, the second half was that of bursting lyrical colours. How joyous Chopin’s Rondo à la Mazur was, full of young freshness and innocence. The playful keyboard touch was a complete shift from the previous pieces. A Polish theme continued into the next two pieces – Meine Freuden and Mädchens Wuncsch – from 6 Polish Songs, transcribed by Liszt, they were lush and captivating. Liszt’s Hungarian Rhapsody was pianistic madness, as was Bach-Busoni’s Toccata e Fugue. How Sofya created the fiery yet lyrical art with the dramatic spontaneity in this monumental piece (and keeping the volume Breinton friendly), not turning it into a circus act, was thoroughly due to her undeniable technical brilliance.

Of course, the audience demanded an encore! She concluded the evening with Liszt Sonetto del Petrarca.

Johann Sebastian Bach (1685 – 1750)
transcribed by Ferruccio Busoni (1866 – 1924)
Chaconne in D minor, BWV 1004

The recital begins with Bach’s Chaconne in D minor, originally written for solo violin as part of his Partita No. 2 in D minor. It stands as one of the most profound and challenging pieces in the violin repertoire, revered for its complexity and emotional depth. The Chaconne is a continuous set of variations built on a recurring bass line. Ferruccio Busoni’s piano transcription, however, transforms the work into a monumental piece for the modern piano, expanding its expressive range while preserving the structural integrity of Bach’s original.

Busoni’s arrangement maintains the spiritual grandeur of the piece, while using the full capabilities of the piano to capture the varying moods—ranging from brooding introspection to moments of exultant triumph. Busoni, himself a towering figure in piano music, once described the Chaconne as “a piece touched by God,” and his transcription reflects his deep reverence for the work. In Gulyak’s hands, the Chaconne will resonate with both clarity and depth, bringing out the tension between the Baroque aesthetic and the expansive Romantic idiom that Busoni embraced.

César Franck (1822 – 1890)
arranged by Harold Bauer (1873 – 1951)
Prelude, Fugue, and Variation in B minor, Op. 18

Originally composed for organ, Franck’s Prelude, Fugue, and Variation is one of his most beloved works. Harold Bauer’s transcription for piano preserves the flowing lyricism and intricate counterpoint of the original, while allowing the pianist to explore the rich tonal possibilities of the piano. The piece opens with a gentle, contemplative prelude that sets a meditative tone. Franck’s distinctive harmonic language, with its warm modulations, is particularly evident here, invoking a sense of intimacy and spirituality.

The fugue that follows is a model of clarity, with its subject elegantly developed and passed between voices. The final variation brings the work to a serene and graceful conclusion. Throughout the piece, Franck's trademark blend of French lyricism and Germanic structural rigor is evident, and Gulyak’s performance will undoubtedly highlight the delicate balance between these two stylistic influences.

Johann Sebastian Bach (1685 – 1750)
transcribed by Ferruccio Busoni (1866 – 1924)
Nun komm der Heiden Heiland, Chorale Prelude, BWV 659
Toccata and Fugue in D minor, BWV 565

Bach’s chorale prelude Nun komm der Heiden Heiland (Now Come, Savior of the Heathen) is a reflective, solemn meditation on the Advent hymn. Busoni’s transcription intensifies the emotional and spiritual weight of the piece, adding dynamic contrasts and rich harmonies that enhance the work’s contemplative character. This transcription retains the hymn’s sacred dignity while expanding its resonance on the piano, allowing for a broader range of expression. Gulyak will undoubtedly bring out the quiet intensity and introspective beauty of this piece, making it a poignant moment in the recital.

The Toccata and Fugue in D minor is one of Bach’s most famous organ works, immediately recognizable for its dramatic opening. Busoni’s transcription captures the overwhelming power and virtuosity of the original, while transferring its intricate counterpoint and bold gestures to the piano. The Toccata’s cascading scales and rapid arpeggios provide a thrilling display of pianistic dexterity, while the Fugue offers a study in control and architectural precision. In this piece, Gulyak will showcase both her technical brilliance and her ability to convey the grandeur of Bach’s music through the lens of Busoni’s Romantic interpretation.

Frédéric Chopin (1810 – 1849)
Prelude in C-sharp minor, Op. 45
Rondo à la Mazur, Op. 5

The Prelude in C-sharp minor, Op. 45, stands as one of Chopin’s most enigmatic and deeply expressive works. Written in 1841, this prelude departs from the brevity of his other preludes, offering a longer, more exploratory narrative. It is harmonically rich, with a sense of improvisation that unfolds in a series of shifting moods. The prelude is both restless and introspective, filled with chromaticism that gives it a feeling of unresolved tension. Gulyak’s interpretation will likely focus on the fluidity and emotional depth of the piece, allowing its haunting beauty to emerge naturally.

Chopin’s Rondo à la Mazur, Op. 5, composed when he was only 15 years old, is a delightful early work that already showcases the composer’s penchant for Polish folk rhythms and dance forms. The rondo structure allows for playful repetitions of the main theme, with contrasting sections that evoke the lively spirit of the Mazurka. Though less introspective than some of his later works, this piece is full of youthful energy and charm. Gulyak’s performance will undoubtedly capture the lightness and rhythmic vitality of this work, while also hinting at the deeper emotional world that Chopin would explore in his later compositions.

Frédéric Chopin (1810 – 1849)
transcribed by Franz Liszt (1811 – 1886)
Six Polish Songs (Nos. 5 and 1: Meine Freuden and Mädchens Wunsch)

Liszt’s transcriptions of Chopin’s Six Polish Songs are masterpieces in their own right, capturing the melodic beauty and emotional nuance of Chopin’s vocal works while adding Liszt’s characteristic virtuosity and flair. Meine Freuden (My Joys) is exuberant and joyful, filled with intricate runs and sparkling textures that showcase the pianist’s agility. The piece captures the essence of Chopin’s original song while allowing the pianist to explore new realms of expression.

Mädchens Wunsch (Maiden’s Wish) is more delicate and lyrical, with a graceful, flowing melody that speaks of longing and tenderness. Liszt’s transcription enhances the emotional depth of the piece, while also demanding technical brilliance from the performer. Gulyak’s ability to balance the lyricism and virtuosity of these transcriptions will undoubtedly make these pieces a highlight of the programme.

Franz Liszt (1811 – 1886)
Cadenza by Sofya Gulyak
Hungarian Rhapsody No. 2

The recital concludes with Liszt’s iconic Hungarian Rhapsody No. 2, a work famous for its fiery passion and virtuosic demands. This piece draws on Hungarian folk melodies, weaving them into a dazzling display of pianistic brilliance. The rhapsody begins with a slow, lyrical introduction, known as the Lassan, which evokes the soulful and melancholic qualities of traditional Hungarian music. This section is followed by the faster, more exuberant Friska, where the energy and excitement build to a thrilling climax.

What sets this performance apart is the inclusion of Sofya Gulyak’s own cadenza, adding a personal and creative element to this well-known piece. The cadenza allows Gulyak to showcase her unique interpretive voice, while staying true to the spirit of Liszt’s original composition. Her technical mastery and deep understanding of the music will shine through in this electrifying finale, bringing the recital to a spectacular close.

In September 2009 Sofya Gulyak was awarded the 1st prize and the Princess Mary Gold Medal at the Sixteenth Leeds International Piano Competition – the first woman in the history of the competition to achieve this distinction. Since then she has appeared all over the world to great acclaim.

Her recital programmes are frequently reviewed in superlatives, and her concerto appearances with major orchestras are noted in glowing terms by the world’s music press. Sofya has been praised for her "tremendous precision and colouration...exquisite soft playing ...with delicacy" and described as a “Rach star"(Washington Post).

Sofya Gulyak’s resume includes prizes from many prestigious piano competitions: she is a 1st prize winner of William Kapell International Piano Competition in the USA, Maj Lind Helsinki International Piano Competition, Tivoli Piano Competition in Copenhagen, Isang Yun International Piano Competition in South Korea, San Marino Piano Competition, winner of Busoni Competition in Italy and prize winner of Marguerite Long Piano Competition in Paris.

Recitals and concert appearances have been numerous, with Sofya Gulyak having performed all over the globe in such venues as La Scala Theatre and Sala Verdi in Milan, Herculessaal in Munich, Salle Cortot, Salle Gaveau and Salle Pleyel in Paris, Tokyo Opera City Hall, Osaka Symphony Hall, Great Hall of Moscow Conservatory, Konzerthaus in Berlin, Gewandhaus in Leipzig, Kennedy Center in Washington, Hungarian National Opera, Palais de la Musique in Strasbourg, Hong Kong City Hall, Shanghai Grand Theatre, Musashino Cultural Centre in Tokyo, Finlandia Hall in Helsinki, Bridgewater Hall in Manchester, Teatro Municipal adn Cidade des Artes in Rio de Janeiro, Auditorium Manzoni in Bologna, Aberdeen Music Hall, Salle Molière in Lyon, Walt Disney Hall in Los Angeles, King Theatre in Rabat, Kursaal in Bern, Tivoli Concert Hall in Copenhagen and many others.

Sofya Gulyak appeared as a soloist with the London Philharmonic Orchestra, Finnish Radio Symphony, Saint-Petersburg Philharmonic, Rio de Janeiro Symphony, Royal Liverpool Philharmonic Orchestra, Hallé Orchestra, BBC Scottish Symphony Orchestra, Orchestra of Opera North, Budapest Philharmonic, Orchestra dell’ Arena di Verona, Orchestra Filarmonica di Bologna, NFM Wroclaw Philharmonic, Enescu Philharmonic, Stavanger Symphony, Deutsche Staatsphilharmonie Rheinland-Pfalz, Slovak Radio Symphony, Helsinki Philharmonic, Copenhagen Symphony, Ulster Symphony, Ochestra Sinfonica Siciliana, Orchestre National de France, Shanghai Philharmonic, Oulu Philharmonic, Leipzig Philharmonic, Pensacola Symphony, Tatarstan Symphony, Philippines Philharmonic, Morocco Philharmonic and others

She collaborated with conductors such as Vladimir Ashkenazy, Sakari Oramo, Mark Elder, Donald Runnicle, Vasily Petrenko, Alexander Lazarev, Karl-Heinz Steffens, David Hill, Alan Buribayev, Eiving Gullberg Jensen, Theodor Guschlauer, Rory McDonald, Tamami Nishimoto, Danail Rachev, Fabio Mastrangelo, Michele Mariotti, Fuat Mansurov, Alexander Sladkovsky, Mario Kosik, Jesus Medina,Tomomi Nishimoto, Istvan Denes, Peter Rubardt, Anna-Maria Helsing, Dalia Stasevska and others. The festivals in which Sofya Gulyak participated include Klavier Ruhr Festival, Chopin Festival in Duzniki-Zdroj, Festival du Sceaux, International Keyboard Festival in New York, International Strasbourg Festival, Busoni Festival, Harrogate Festival, Krakòv Piano Festival, New Zealand Piano Festival, Ravello Festival, Festival Chopin in Paris, Shanghai International Piano Festival and many others.

Sofya Gulyak’s recording of Russian piano music (Medtner, Rachmaninoff, Prokofiev) was released on Champs Hill Records in 2013 and received a 5 stars review in Diapason magazine (“What a pleasure to hear the piano blossoming and projecting in the most vivid of ways when played by Sofya Gulyak. The singing sound alongside dazzling and powerful execution distinguishes an outstanding natural pianist”) and praising reviews in Gramophone (“This is a stunning debut album…”) and Guardian magazines (“Sofya Gulyak is a fearless pianist, never afraid to scale the most technically demanding heights of the repertoire and equally proud to wear her heart on her sleeve”). Her CD with Brahms music was released on Piano Classics in the spring of 2015 and got glowing reviews from American Record Guide ("The Handel Variations is among the top contenders on record. From the very first notes she takes charge and envelops us in a thrilling sequence of variations that will send goose bumps to susceptible listeners. Not only does she perform with arresting contrast and lovely, soft floating tone. She keeps you on the edge of your seat, as the music presses ever forward. Sometimes I was reminded of the young Argerich.." and Fanfare magazine (" Her musicality is beautifully attuned to the spirit of Brahms...I must praise Kazan-born Russain pianist Sofya Gulyak, whose impressive reading places a stronger emphasis than Perahia's in the continuity of the variations... She is a natural Brahmsian whatever his moods."). Her last CD with the Chaconnes for Piano was released by Champs Hill Records in 2017.

Sofya Gulyak is a native of Kazan (Russia) where she studied in a Special Music College under Nailya Khakimova, and then in Kazan State Conservatoire under Professor Elfiya Burnasheva. After that she continued her studies at the Piano Academy "Incontri coi Maestri" (Imola, Italy) with Boris Petrushansky and at the Royal College of Music in London with Vanessa Latarche.

Sofya Gulyak attended as a jury member the International Piano Competitions in Italy, Serbia, France, Greece, USA, and was invited to teach master classes in China, Italy, Australia, New Zealand, Philippines, Hong Kong, Mexico, USA, and Germany. In past and recent years she has been on the faculty at the Royal College of Muisc in London, Kazan State Conservatory, Monteverdi Conservatory of Bolzano.

Her playing has been broadcast on radio and TV in Russia, Poland, France, Italy, Germany, USA, Finland, Denmark, Serbia, New Zealand, Brazil, Mexico, and the United Kingdom (BBC 3 and BBC 4).