Vitaly Samoshko

Quotes from the press

“(…) all eyes and ears were particularly directed to the public’s favourite, Samoshko. His interpretation was stunning, poetic, organic, and it had a maturity that we had not noticed in 1999. This time he built up his climaxes carefully and he wrote a beautifully dosed story, in perfect balance with the orchestra. His precise, airy articulation and the manner in which he handled weight were of top level. A standing ovation was the least what this interpretation deserved.”
Greet Van ’t veld, «RACH 3 ‘revisited’»,, November 23rd 2008
Rachmaninov Concerto n°3, the Symphony Orchestra Flanders / Jonas Alber, Palais des Beaux-Arts, Brussels, 22 November 2008

“Nobody has forgotten the ardour and impetuosity that costed for Ukrainian pianiste Vitaly Samoshko the first prize of the Queen Elisabeth Competition in 1999. And he had there – already this ringing refinement and this musical imagination that are in his interpretation of “Etudes-tableaux op.33 and op.39” from Sergey Rachmaninov. Virtuosity, lyrisme, a poetry are in this registration, realized in magnificent acoustics of Studio1 in Flagey. ( “
M. Dq., Le Soir, October 20th 2006
CD “Etudes tableaux” by Sergei Rachmaninoff LAT 03-2006 [©Lineair Art Transfer]

“(…) there’s remarkable solidity and power in his playing (…). (…) Samoshko really set the furniture on fire. He brought blinding virtuosity to five of Rachmaninoff’s “Etudes-Tableaux”. There was barely time to recover before he unleashed Prokofiev’s astonishing Sonata N°7. Elegant, anguished, tumultuous, beautiful – to hear Samoshko play it was like looking straight into the tormented heart of the 20th century itself.”
Stephen Brookes, The Washington Post, May 11th 2006
Recital, The Embassy Series, the Polish Embassy, Washington, D.C., 11 May 2006

“Ukrainian pianist Vitaly Samoshko (the winner of Queen Elisabeth Piano competition 1999) receives the Public prize of best international cd 2005 for his album ‘Etudes for piano’ by Alexander Scriabin (© Lineair Art Transfer). The music follows Scriabin’s remarkable evolution from the late romantic until the visionary artist, who explores the borders of the tonality and the ecstasy. The complete recording, which Samoshko made now, is the reference recording.”
de Bijloke, Ghent, Belgium, ‘Klara Music Prizes 2005’, November 19th 2005
Belgian Classic Radio channel ‘Klara’ (VRT)

“Six years after winning the Queen Elisabeth Competition, Ukranian pianist Vitaly Samoshko – who has since made Belgium his home – has just released a polished LAT [©Lineair Art Transfer] CD of Scriabin’s complete Etude. (…) the CD charts Scriabin’s seamless evolution from Chopin-like lyricism to free explorations of movement and colour that throw tonality and development to the wind. (…) there’s much to be said for this recording, which demonstrates the same clean touch, ample tempi and beautiful palete of nuances that earned Samoshko first prize back in 1999. “
Marie Dumont “CD of the week”, “the Bulletin” Newsweekly of Europe’s capital, April 28th 2005

“(…) the result is splendid: his playing is fascinating and technically perfect. The touch of this pianist is balanced, clear, and full of expression. Many notes do not go into tangle of wooliness, and their sound remains clear through the masterly performance. The most famous etude (thanks to Horowitz!) is op. 8 No. 12. Here one can notice how perfectly Samoshko can dose its strength and how he can gradually bow the music towards a main architecture. (…) Samoshko comes as a magician of sound to unravel all his nuances and colours of the score. There a lot of good recordings of the etudes by Scriabin. These are really worth of buying. “
Greet Van ‘t Veld, Radio Klara (VRT), Belgium, March 19th 2005
CD “Studies Scriabin” Four stars **** (out of five),

“Early this year it gave me pleasure to draw attention to a CD by Ukrainian pianist Vitaly Samoshko who won the Queen Elisabeth Contest in 1999. (…) Again, I have a feeling that Samoshko being thirty-one is a mature artist who seeks and finds his own interpretation of Skriabin. He sets forth his individuality first and foremost in his creative use of pedal and colour, in which the accent is softened through subtle adding the lower registers(…). (…) Samoshko proceeds from the written notes and instructions, but not from Skriabin’s personality of his time, and thus, his Skriabin sounds at times reflective, his interpretation is by no means exalted, it only glimmers in halftones. (…) The way how Samoshko realizes the dynamic features, which Skriabin wrote down himself and which are seldom taken into account by pianists, are more then just revelations restricted to the text. This manner of performance hides Samoshko’s understanding of music that hardly needs to be stirred by or to stir the interpreter of it. And of course, a mysterious final work on this CD suits well this concept – the harmonic, nearly motionless etudes opus 65. All in all, this is an approach that relieves music from personal fancies and that cast itself a tragic undertone on what has come out of the centre of Skriabin’s egotistical world picture. “
Elger Niels, editor of classical review, “Skriabin in halftones”, the magazine “Pianowereld”, March 1st 2005
The Netherlands,

“Samoshko’s Rhapsody is the opening work on this album….. Samoshko races though the first six variations before a quicksilver change of mood in the 7th variation. There is a certain aristocratic manner to his playing, underlined by unself-conscious instinct which is more than closely matched, passion for passion, by Tchivzhel and the Sydney Symphony. “
Benjamin Chee, The BBC Magazine, February 1st 2005
Released in 2004, a disc of concerto performances from the 1992 Sydney Piano Competition, featuring Rachmaninov’s Variations on a Theme by Paganini Op. 43 with the Sydney Symphony Orchestra, conducted by Edvard Tchivzhel. ABC Classics 476 227-4.

“(…) with Samoshko one recognizes a musical talent and a joy for playing (…). The repertoire spread over two brilliantly recorded CDs is multifaceted and thus presents a better portrait of a young man who has a heart towards interpretation of music. (…) that the Fifth Piano Sonata by Skriabin on the second CD was performed for what it worth. Samoshko makes everything what is the must in this play and swings entirely open in this music. He discovers colours, he unveils mysteries and he is also capable of bringing up a plain narration. Thus, he can take the risk where many other pianists would have been broken their play into fragments. Even thinking of Horowitz, I found this record being a little revelation, and after this I looked forward to listening to the next record by Samoshko – the etudes by Skriabin. The Seventh Piano Sonata by Prokofiev was also completely swallowed up by Samoshko, who made the dynamic and vitality dominate. But the thoroughly built-up andante coloroso with its heart-rending bewildering culmination produced the most profound impression. (…) I highly recommend to invest in his CD. “
Elger Niels, editor of classical review, the magazine “Pianowereld”, January 1st 2005
The Netherlands,

“Pianist Vitaly Samoshko won in 1999 the Queen Elisabeth Competition in Belgium. Having Belgium as the starting point of his career, he has been conquered the world ever since with his masterly playing. Samoshko is a master of making one feel and hear the tension through the whole composition. He does not exaggerate the details, as otherwise, it would ruffle the feeling of well-balanced entirety. This approach wonderfully suits the composer Schubert who often fully reiterates themes and motifs. Samoshko does it also with elements of surprise, such as unexpected leaps, modulation and suddenly exploding melodies. (…) Samoshko’s approach towards the four chosen works is by no means detached. He renders the simplicity of Schubert with passion to life and gets entangled enough in the web of Schubert’s thoughts. In Skriabin’s work, the darkest passage is lit and he drives the pulsating percussion of Prokofiev to culmination. As a result, we have a wonderful double CD. The differences among the four works form a pretty completeness, and Samoshko brings the comely and sincere live sound of the piano in all its glory. “
Toby Sermeus,, August 19th 2004
CD-discussions “Vitaly Samoshko, piano”, 2CD (L.A.T. 01 – 2003)/ Four stars **** (out of five)

“Our strong Ukrainian has proved to be marvelous: round sonority …, bounding rhythms, unlimited power, technical infallibility, generosity and if you want dramatic effect. It’s splendid. “
MDM, La Libre Belgique, February 11th 2004
Recital, Dilbeek Cultural Center, 6 February 2004

“Mr. Samoshko appeared in all his glory in a seemingly staple piano repertoire – the Rachmaninov 3rd which we must have heard tens if not hundreds of times. To be succinct, he surpassed all the other best performances with his phenomenally crisp technique, a poetic singing tone and by bringing out the internal drama in the music and its grandeur so convincingly (but without excesses). He left the audience breathless.”
Irena Stecura, Kiev-CULT, February 1st 2004
Rachmaninov Concerto N°3, Symphony Orchestra of the Philharmonic, Society of Ukraine/Mykola Dyadyura, 9 January 2004

“The Ukrainian pianist has a lot of presence and a strength personality that knows to be moderate in order not to cover his companions.”
L’Est Republicain, September 16th 2002
Beethoven Triple Concerto, Liège Philharmonic Orchestra/Louis Langrée, Ning Kam/David Cohen, Festival de Besançon, 14 September 2002

“In the second concert of Brahms works it was time for a 29-year old Vitaly Samoshko from Ukraine who took his place at the grand piano to perform D minor Concerto, opus 15, and wiped out any doubts that music prices in Belgium were not any more the prices that used once to be.”
Bonner Rundschau, March 14th 2002
Brahms Concerto N°2, Beethoven Hall Orchestra/Marc Soustrot, 10 March 20

“The strong part of Samoshko is obviously in his lyrical expression.”
Fritz Herzog, General Anzeiger, March 11th 2002
Brahms Concerto N°2, Beethoven Hall Orchestra/Marc Soustrot

“Pianist Vitaly Samoshko, of Ukranian origin, gave a haunting and impressive performance. With a catlike technical flexibility he triumphed in his wilful and demanding part. Sarcastically chiselling passages were interwoven with lyrical phrases. One rarely gets to hear the perpetual motion machine of the Scherzo in such a sparkling and murmuring way.”
Cornélie Hoendervanger, Eindhovens Dagblad, October 13th 2001
Prokofiev Concerto N°2, Brabant Orchestra/Marc Soustrot

“The clarity of his touch and the purity of his style really transcended the baroque pieces. Bach and Scarlatti had, this evening, an exceptional ambassador with Vitaly Samoshko.”
Léon Hallet, Vers l’Avenir, edition “Luxembourg”, July 1st 2001

“The character that Samoshko has affronted with good effort, preferring emotive decisive impact to more mediate poetic reading no less incisive but more complete. At the end the auditorium numerous enough thanked with extreme warmth the pianist that played two pieces outside the program, closing in this way the interesting and particularly logical musical sketch.”
Alessandro Rigolli, GAZZETTA DI PARMA, April 30th 2001
Recital, Teatro Regio, 27 April 2001

“…this powerful artist demonstrated his expressive capacity until the limit corresponding to the requests of technical and musical character of the Allegro, Impetuoso, Con stravaganza, Presto con allegrezza, Meno vivo times and finally Prestissimo everything compressed in one movement of magnificent Sonata n°5 op.53 of fascinating Moscow compositor Alexander Scriabin.”
Luis Enrique Juliá, El Nuevo Día, March 13th 2001
Recital, Performing Arts Center, Puerto Rico, 11 March 2001

“This young pianist dazzles with his outstanding technique and rich interpretation.” “This virtuoso is also an interpreter who can render poetry in its greatest delicacy, in its most sublime moments.” “Master of rhythm, letting dissonances burst out like sparks.”
Hilda van Heel, Luxemburger Wort, October 1st 1999

“Stavelot – magic of keyboard, profound playing intelligence and technique virtuosity – …all this in enormous measure… a piano recital, so successful that one could only dream about. (…) it was a magnificent recital evening, where all the dreams came true and where it was impossible for the audience to express fully all their gratitude to Vitaly Samoshko and the organizers of the East-Belgian Festival. “
Helmuth Hilgers, Grenz-ECHO, September 14th 1999
Recital, Ostbelgien Festival, 11 September 1999

“During nearly two hours he offered to the auditorium saturated and exigent program in which his celestial touch was marvelous.”
M.C.H., Midi Libre, May 31st 1999
Recital, Festival de Montpellier Radio France, 30 July 1999

“Remarkable imagination; he makes every moment a unique adventure; deeply moving. (…) Very delicate touch, decisive tone but never heavy, elegance of intention (…) Samoshko sculpts each note with care obsession that gives him the miraculous power (…) A moment of ecstasy from which one would like never to slip away, as the overflowing musicality hypnotizes the listener, imposes its inextinguishable will, plunges into beatitude.”
Stephane Dado, La Libre Belgique, May 31st 1999

“A titan of the keyboard, an alchemist of sound with a fiery temperament (…) Samoshko brings to Rachmaninov’s 3rd concerto the fruits of a prodigiously seductive touch. A wonderful musician’s work.”
Le Soir, May 1st 1999

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