" Lovers of chamber music had the wonderful opportunity to listen rarely performed versions for bassoon and piano by Brahms - sonatas for clarinet and piano op.120 № 1 in f minor op.120 and № 2. in E-flat major . In between, we listened the beloved piano intermezzi op.117 op.119 № 1 and № 1.
The both Musicians didn’t need of presentation - they are our famous instrumentalists Svetoslav Slavchev - bassoon and Rostislav Yovchev - piano. Their tandem presented to the audience in a full hall one profound and sincere interpretation without so often made in nowdays theatrically and pretentiousness .
Enviable instrumental mastery , the fine balance of the sound and precise details were high points of their performance .
Both intermezzi that sounded between sonatas are favorite works from the audience. In their interpretation the pianist looked for for not-so- usual contemplation, then a pronounced energy- intensive long line , almost bending the contours of the inner musical structure. "
Radoslav Nikolov, 2013
"
The inaugural speech by Prof. Rostislav Yovchev focus on the
personality of academician Andrei Stoyanov. Then with feeling to the
poetic spirit, the pianist presented earlier cycles
" Watercolors " ( Ten pieces) and " Lyric Pieces " Op. 6 ( four out of five ), which describe different landscapes and intimate emotional moments . Sincere and spontaneous in its expression, mostly melodical , the music in these works implies the idols of the author – composers of the romantic style . A really bright culmination Yovchev made in the interpretation of two contrasting pieces from the " Youth album ." The second of them similar with it’s sound to Schumann Piano Toccata, was powerfully opened , full with flourish and enthralling temperament. "
Pravda Goranova, 2011
" Watercolors " ( Ten pieces) and " Lyric Pieces " Op. 6 ( four out of five ), which describe different landscapes and intimate emotional moments . Sincere and spontaneous in its expression, mostly melodical , the music in these works implies the idols of the author – composers of the romantic style . A really bright culmination Yovchev made in the interpretation of two contrasting pieces from the " Youth album ." The second of them similar with it’s sound to Schumann Piano Toccata, was powerfully opened , full with flourish and enthralling temperament. "
Pravda Goranova, 2011
"
The Music lovers know quite good the remarkable artistic and
enlightening activity of the pianist Rostislav Yovchev . Not only its
really impressive regularity and thematic diversity , but mostly - with
his interpretational possibilities, undoubtedly multiplying from year to
year,......
After a brief intermission the concert continued with Twenty-four Preludes or.11 by Alexander Scriabin , whose bright 140th anniversary was celebrated with dignity in several metropolitan concert halls with a series of prestigious events ……………..
Without going into too much in detail in that artistic event created by our distinguished colleague Rostislav Yovchev, we would like to mention some of the main artistic merit of his performance : precise sense to choose the most suitable temporitmical description for each piece to achieve convincing chain development of the entire musical cycle; new colorist and psychological character in emphasise each change of the modality or modulation , through which authors' ideas go, master and instinctively reliable performing in dosage and nuances of used colors , agogical , register , dynamic and pedal expression , skillfully and hierarchical development of musical episodes in all caesura , fermatas and “breaths” , especially in the transition between the different pieces of this grand cycle. And - not least - the high culture of stylistic interpreter . No doubt this concert was one of the highlights of the concert festival "Slavic music classics ."
After a brief intermission the concert continued with Twenty-four Preludes or.11 by Alexander Scriabin , whose bright 140th anniversary was celebrated with dignity in several metropolitan concert halls with a series of prestigious events ……………..
Without going into too much in detail in that artistic event created by our distinguished colleague Rostislav Yovchev, we would like to mention some of the main artistic merit of his performance : precise sense to choose the most suitable temporitmical description for each piece to achieve convincing chain development of the entire musical cycle; new colorist and psychological character in emphasise each change of the modality or modulation , through which authors' ideas go, master and instinctively reliable performing in dosage and nuances of used colors , agogical , register , dynamic and pedal expression , skillfully and hierarchical development of musical episodes in all caesura , fermatas and “breaths” , especially in the transition between the different pieces of this grand cycle. And - not least - the high culture of stylistic interpreter . No doubt this concert was one of the highlights of the concert festival "Slavic music classics ."
"With
his characteristic charisma and impressive with his sound colors
volitional resource Rostislav Yovchev carve a panoramic picture with
fascinating colors in which , like an experienced ethnographer he was
able to place skillfully each of the five beautiful Nenov’ miniatures
in a complementary , but contrasting light , together in this
environmentally causal order. The interpretation of other famous Nenov
work - Toccata for piano, thoroughly charged with deliberately seeking "
primary " and archetypal inner strength and colossal as a spatial ( or
even as a "thermal " ) suggestion scope, seemed to fill the old hall
with powerful fire vibration and mastered in irresistible way the
multinational festival audience. "
Atanas Kourtev, 2013
Atanas Kourtev, 2013
" The concert , held on 6 October 2010 . in the hall of the Academy of Music in Plovdiv , picked crowd to its feet !
Become common practice in our cultural life the biggest names in our classic art to be presented by modest posters, far less bright and enticing as the posters of " stars" of native folk-pop aesthetic. The poster for the chamber concert of the violinist Stoika Milanova and the pianist Rostislav Yovchev was no exception.
The audience listen one of the most famous works of C. Franck - Sonata for violin and piano. Beautiful work, energetic , dramatic , excited. Maybe in the interpretation of the St. Milanova and R. Jovchev we found what Franck has found himself in our art - "continuous worship music ." The dialogue between the violin and the piano in the finale , the race to “pour” melodic flow, became a sonata in a natural culmination of the concert . "
Velislava Karagenova, 2010
Become common practice in our cultural life the biggest names in our classic art to be presented by modest posters, far less bright and enticing as the posters of " stars" of native folk-pop aesthetic. The poster for the chamber concert of the violinist Stoika Milanova and the pianist Rostislav Yovchev was no exception.
The audience listen one of the most famous works of C. Franck - Sonata for violin and piano. Beautiful work, energetic , dramatic , excited. Maybe in the interpretation of the St. Milanova and R. Jovchev we found what Franck has found himself in our art - "continuous worship music ." The dialogue between the violin and the piano in the finale , the race to “pour” melodic flow, became a sonata in a natural culmination of the concert . "
Velislava Karagenova, 2010
"At
the end of the evening sounded the first Varna performance of the
composition for piano and string orchestra, called “Malediction"
written at the age of 19 by F. Liszt. That performance was because of
celebration of the 200th anniversary of the composer , celebrated this
year throughout the world.
Work is written in a clear form of monothematic fantasy with extremely difficult and virtuosic piano part and atypical , more " piano " orchestral accompaniment.
Soloist Rostislav Yovchev build a powerful and temperament interpretation of this strange work , realizing an amazing synchronicity with the orchestra . A good share in that work have experienced great musicians of the Chamber Orchestra , led by Angel Vasilev, who as a conductor was able to weld the ensemble and to follow the soloist in all difficult moments."
Stanislava Stavreva, 2011
Work is written in a clear form of monothematic fantasy with extremely difficult and virtuosic piano part and atypical , more " piano " orchestral accompaniment.
Soloist Rostislav Yovchev build a powerful and temperament interpretation of this strange work , realizing an amazing synchronicity with the orchestra . A good share in that work have experienced great musicians of the Chamber Orchestra , led by Angel Vasilev, who as a conductor was able to weld the ensemble and to follow the soloist in all difficult moments."
Stanislava Stavreva, 2011
"
On the evening of June 2 chamber hall Bulgaria once again became the
temple of the piano art where Rostislav Yovchev immerse in full
dedication the numerous audience in poetic and religious world of Franz
Liszt .
It was one of the many concerts of the famous Bulgarian musician dedicated to 200 years of the birth of the Hungarian composer genius . The program was extensive and vast in its conception with depth and philosophical content. As a general and comprehensive picture revealing the infinite creative genius of Liszt, which changes each soul, touched by him and perhaps inspire thoughts of life and death, light and darkness , the heroism of the strong and unconquerable human spirit and the impulse to creativity...
It was one of the many concerts of the famous Bulgarian musician dedicated to 200 years of the birth of the Hungarian composer genius . The program was extensive and vast in its conception with depth and philosophical content. As a general and comprehensive picture revealing the infinite creative genius of Liszt, which changes each soul, touched by him and perhaps inspire thoughts of life and death, light and darkness , the heroism of the strong and unconquerable human spirit and the impulse to creativity...
.....................
When the last note died away, the audience stayed for seconds seemed powerless ..... A moment of silence with greatest gratitude to the invaluable scores of Liszt and the pianst Rostislav Yovchev . The genius of Liszt, the spirit of his time were recreated again by sight and feel of also significant artist. Because to be played and re-create a grand master , that requires such a great musician and performer. "
Anelia Gospodinova, 2011
When the last note died away, the audience stayed for seconds seemed powerless ..... A moment of silence with greatest gratitude to the invaluable scores of Liszt and the pianst Rostislav Yovchev . The genius of Liszt, the spirit of his time were recreated again by sight and feel of also significant artist. Because to be played and re-create a grand master , that requires such a great musician and performer. "
Anelia Gospodinova, 2011
Special
mood during such an event could be created mostly by that pure musical
energy, that always manage to get out by truly dedicated great
performers to the numb with fascination and excitement hall . There
were many such moments during the five nights! Rostislav Yovchev in
cooperation with " Dianopolis " and under the direction of N. Sultanov
provide an extremely stylish lesson of Mozart music.
Valentine Valtchev, 2006
Valentine Valtchev, 2006
80 years of the death of Claude Debussy
Mastery of pianist Rostislav Jovchev again gathered in the chamber hall " Bulgaria " lovers of piano music.
Right from the first notes, the listeners sank in the colorful and diverse world of the music of Claude Debussy. Different images and imressions were recreated in bright and impressive way, with great taste and delicate and presicion sonority.
" Musica Viva " - November 1998
Right from the first notes, the listeners sank in the colorful and diverse world of the music of Claude Debussy. Different images and imressions were recreated in bright and impressive way, with great taste and delicate and presicion sonority.
" Musica Viva " - November 1998
BRIGHT BEETHOVEN RECITAL
For
me, the performance of colossal cycle “33 variations on a waltz from
Diabelly” is a bright achievement of pure type in our concert reality.
The impressive contrasts, sound culminations and drops , exceptional rhythmic dynamism in Yovchev’s playing , inspire not only a simple alternation of contrasting pieces, but a dramaturgy contrasted symphonical potential.
Dimitar Tzanev , " Musica Viva " - June 2000
The impressive contrasts, sound culminations and drops , exceptional rhythmic dynamism in Yovchev’s playing , inspire not only a simple alternation of contrasting pieces, but a dramaturgy contrasted symphonical potential.
Dimitar Tzanev , " Musica Viva " - June 2000
Fantasy for flute and piano
A brilliant pianist Rostislav Jovchev could be a dream of a piano
partner for every soloist. to weave in flute music He could complete
the flute ensemble with much finesse.
There are not so many pianists, who realize that in a chamber music, there is no dominating role. Every participant has to complete his partner.
Ina Georgieva " Musica Viva " - July 2000
There are not so many pianists, who realize that in a chamber music, there is no dominating role. Every participant has to complete his partner.
Ina Georgieva " Musica Viva " - July 2000
CONCERT 21 July 2003
The
Pianist Rostislav Yovchev is not only one of the leading Bulgarian
artists , but also one of the most prominent figures among his
generation.
The Most impressive fact in his last concert in Sofia was the interpretation of Chopin’s
nocturnes.Yovchev has reached that level that strongly dominates the hearty deep emotional interpretation.
Another important accent in his program was the performance of works by Spanish and Argentine compsers. I wonder on his ability to build a colorful range in Spanish music , creating associations with Spanish painting and sculpture, or , in other words, to use the " global cultural 'approach to their performances .
Prof. Lubomir Dinolov , " Musica Viva " - July 2003
The Most impressive fact in his last concert in Sofia was the interpretation of Chopin’s
nocturnes.Yovchev has reached that level that strongly dominates the hearty deep emotional interpretation.
Another important accent in his program was the performance of works by Spanish and Argentine compsers. I wonder on his ability to build a colorful range in Spanish music , creating associations with Spanish painting and sculpture, or , in other words, to use the " global cultural 'approach to their performances .
Prof. Lubomir Dinolov , " Musica Viva " - July 2003
NIGHT OF BULGARIAN ARTISTS FESTIVAL at Carthage - Tunisia
Rostislav
Yovchev perform convincingly Nocturne G Major by Chopin , with a very
soft and delicate sound .The Piano sang beneath his fingers even in the
pieces by de Falla and Turina.
Lotfi Ben Kelifa - Le Temps, Tunisia , October 2003
Lotfi Ben Kelifa - Le Temps, Tunisia , October 2003
"
The Recital of Rostislav Yovchev put together two composers whose
anniversaries we mark this year - Albéniz and Vladigerov. As the
performer accented, they are authors, related by their love to the
native folklore and their role in the musical culture of his countries.
The eight pieces of suite " Iberia " was presented with a delicate sense
of colors, with delicate phrasing and technical perfect. The "
Improvisation and Toccata " from Vladigerov shone in all its beauty and
characteristic details , masterfully sculpted by Rostislav Yovchev. The
audience in the hall enjoyed a mature art, seeking its own view in the
interpretate works.
Julian Kuyumdjiev - " Musical Horizons" , 2009
Julian Kuyumdjiev - " Musical Horizons" , 2009
"
...The performances of Rostislav Jovchev made us to empathy the
discerning interpretations of two very different works : Concerto for
Piano and Orchestra in G Major by Haydn and the Concert piece "
Malediction " by Liszt (premiere of Pleven) . As always , the remarkable
pianist sculpt each image , phrase , touch of the sound material and
at the same time he could also succeed to comprehend in its entirety .
Once again Yovchev made Pleven audience happy with t his sound
diversity culture , precise and emotional nuances , and compelling
dramaturgical suggestion. He is an incredible musician , who play
elegant and thoughtfully.
Avgustina Serafimova - "Musical Horizons", 2011
Avgustina Serafimova - "Musical Horizons", 2011
CONCERT - Rostislav YOVCHEV in the cycle "Slavic music classics "
Program: Vesselin Stoyanov (110 Anniversary ) - " Moonlight ." "Song ", " Kalinkin dream " from "Seven Pieces for Piano " Carol Szymanowski ( 130th anniversary ) - Cycle " metopes " : "Island of Sirens ", " Calypso ", " Navzika " D. Nenov (110 years birth ) - "Miniatures " , " Prelude ", " Song ", " Staccato ", " pastor ", " Bagpipes " Alexander Scriabin (140 Anniversary ) - 24 Preludes op. 11; " Tragic poem"
The volume and the extreme difficulty of the program was not a surprise to the listeners in the concert hall " BIAD " of 04.12.2012 , as well as for everyone who is even partially familiar with the extremely intense concert activity of Rostislav Yovchev . For a long time, we are accustomed to every remarkable artistic task, presented in each of his live project. I will recall some programs in the recent years , referring only some solo recitals, in which I had the chance to attend : recital "With gratitude to the Bulgarian Composers" ( 2011 ) ; recital " Poetic and religious world of Franz Liszt (2011) ; the first concert integral-performance of the suite " Iberia " by Isaac Albeniz in Bulgaria (2009 ), a recital of works by Fr. Schubert (2008); recital with pieces from the Baroque era of Couperin , Rameau , Scarlatti , Matheson , Handel and Bach (2005); recital with works by Tchaikovsky (2004) ...
Most of these concerts were presented not only in Sofia, but in Plovdiv , Burgas, Stara Zagora and abroad. Without mentioning many of his performances as soloist with orchestras and in chamber ensembles - this activity is not less impressive in calibre and achievement of the highest professional level.
This concert was different. Pianist was collected in the program works by composers whose anniversaries of the birth is recorded now. Indeed, it was perhaps the only unifying stylistic factor of diversity , at the same with the idea of the whole live cycle ( so-called " Slavic classic" ) . The result of this " partnership " in this case was very interesting . First, Yovchev presented three rarely performed miniatures – extract from "Seven Pieces for Piano" on Ves. Stoyanov. After he joined us to the less known (at least to me) musical figurative language of Szymanowski, (his middle creative period, influenced by impressionist aesthetics.
Second - we listened works, with significant importance in the world ( Preludes or.11 and " Tragic poem" of Scriabin ) and Bulgarian ( cycle " Miniatures" of Nenov ) piano music. The pianist demonstrated impressive with his inherent own pianistic power virtuosity in combination with a clear determination. The both were within in very well-known , and in unknown to the public works. The bright unconditional interpretative decisions during the whole performance, as usual was based on a fair realization of the author's text and in-depth interpretation of stylistic expression characteristics of the works, free of any mannerism and external narcissism. Of course, there is no need of special remark to the huge technical energy potential of Rostislav Yovchev - sufficiently well known to every competent listener.
I want to communicate some of my more distinct impressions, arising in a special connection mostly with the interpretation of cyclical works. The performance of the twenty-four Preludes op. 11 from Scriabin, made in the second part of the recital formed the undisputed focus. Itself , this cycle of course poses complex problems – artistic, dramaturgical and technical. In Yovchev playing, all preludes sounded homogeneous , excuted like in a breath without excessive personalization of every individual characteristic. The frequent transitions “attaca” between some of preludes helped me for such a feeling, and also uniting in a common movement similar in character of adjacent preludes. I think that this interpretation was the result of a very focused executive way of thinking, that could achieve spectacular cyclic generalization - combining an undeniably brave decision and impressive stage presence.
" Metopes " from Karol Szymanowsky ( triptych inspired by themes from Greek mythology ) - another cyclical work , characterized by its rich , saturated texture and odd , volatile and flamboyant musical language . Purely descriptive fragments arising based on impressionistic type figurativeness and alternate with vivid expressionistic outbursts achieved through sharp and intense harmonious, characteristic , registers and dynamic comparisons. R. Yovchev succeeded to involve the specific imagery of these piano works in the most compelling and seductive way, realizing author's intent for story- drama. After listening them, there was a sense of rich , large-scale and mobile intonation , and relief multi- positioning in the different registers of the complex musical facture - a convincing proof of enviable performance artistry .
Immediately after this, he played the cycle "Miniatures " by D. Nenov . I would like to express my admiration of the pianist 's ability to adjust himself fast and to guide us decisively to a completely different style and imagery. Rostislav Yovchev presented in brilliant way the simple filigree pattern facture, thrifty piano resources and " miniature" refined aestheticism of that so familiar and favorite work of so many connoisseurs. His performance impressed me deeply mostly with achieved sincere lyrical moments in "Song " and " Pastoral " , and fast variability and extremely thin characteristic and details in the flowing pieces.
In general, I think that this concert Rostislav Yovchev confirm again the enviable constant high level, inherent in his frequent public appearances . Meeting with this bright , honest and highly professional art performance, which traditionally leaves a long lasting impressions, we stay with logical hope for his next bold artistic projects.
ALEXANDER VASILENKO
