test
"Rabinovich plays with a warm and generous tone and a supple touch. His sense of rhythm is tastefully elastic, the pulse of his playing more akin to breathing than metronomic. And yet there were many moments when a sudden concentration of energy led to the music nearly exploding from the keyboard.
Rabinovich's protean qualities were the perfect foil for programs that, in different hands, might have suffered from a certain repetitiveness. He brought out a surprising range of tonal color and dramatic insights, and in the process poured quite a bit of his own personality into the music."
"Rabinovich is a player who likes his finales fast, and he has both the finger skills and the fine sense of phrasing needed to neatly pull off that feat."
"Rabinovich's own ornamentation was cunningly wrought and beautifully played, completely integrated into the music."
"Roman Rabinovich gave an alluring, playful performance which brought the masterful concert to its conclusion."
SPECIAL TO THE LAS VEGAS REVIEW-JOURNAL
Conductor Boguslaw Dawidow led them in the Tchaikovsky work in a dramatic collaboration with Rabinovich at the piano. Altogether, pianist, conductor, and orchestra drove the break-next finale to a thrilling conclusion, which evoked strong applause, which led Rabinovich back to the piano.
For his first encore, he gave a dazzling reading of his piano arrangement of part of Maurice Ravel's famous ballet, "Daphnis and Chloe." This version is available on Rabinovich's CD, entitled "Ballet Russe," on the Orchid Classics label. You can also hear some of this Ravel ballet transcription on YouTube.
The Ravel piece brought a torrent of applause from the audience. His second encore, a "Sarabande" from J.S. Bach's "English Suite in F Major," was played in an introspective, romantic manner.
Praised by the New York Times for his “uncommon sensitivity and feeling,” the eloquent young pianist Roman Rabinovich is the winner of the 2008 Arthur Rubinstein International Piano Master Competition. Mr. Rabinovich has performed throughout the United States, Europe and Israel in such prestigious venues as Wigmore Hall in London, Leipzig’s Gewandhaus, Carnegie’s Zankel Hall, as well as the Great Hall of Moscow Conservatory, Cité de la Musique in Paris and the Millennium Stage of the Kennedy Center in Washington DC.
Noted by critics for the “vivacity and virtuosity” and “the impeccable clarity of execution,” Mr. Rabinovich’s 2015-16 highlights include Rachmaninov Concerto No. 3 with the KBS Orchestra and Yoel Levi, as well as return appearances with the Ann Arbor Symphony (Prokofiev Concerto No. 3) and the Dohnanyi Orchestra (Bartok Concerto No. 2). Recital engagements include Vancouver Recital Society, Cincinnati Matinee Musical Series, Chopin Society in St Paul, MN, Lincoln Center’s Alice Tully and the Walter Reade Theatre, as well as the Royal Welsh College of Music & Drama in Cardiff. Mr Rabinovich’s chamber partners this season will include the Doric and the Ariel Quartets.
During the 2016-17 season Mr. Rabinovich will present his “Haydn Project,” comprising the complete Haydn Piano Sonatas at the Lammermuir Festival in Scotland and at the Tel Aviv Conservatory in Israel and will make debut appearances with the Toulouse Capitole Orchestra and the Calgary Philharmonic.
Last season distinguished pianist András Schiff chose Mr. Rabinovich for his “Building Bridges” series created to highlight young pianists of unusual promise. Under this aegis Mr. Rabinovich was presented in a series of recitals in Zurich’s Tonhalle, Berlin, Ruhr Piano Festival, and New York’s SubCulture with a thoughtful selection of works by Bach, Brahms, Bartók, and Smetana that explore elements of dance and folk music in each of these composers. Anthony Tommasini, senior music critic of The New York Times (March 3, 2015) extolled Mr. Rabinovich’s performance of a Bach English Suite: “The challenge for a pianist is to convey the bouncy character of a dance while bringing clarity to the intricate contrapuntal lines, Mr. Rabinovich did so beautifully.” Rabinovich, in an eighty-minute recital without a break, went on to perform Brahms’s formidable Variations and Fugue on a Theme by Handel: “Most pianists would choose this piece as a heroic and virtuosic conclusion to a recital. Mr. Rabinovich performed it with uncommon sensitivity and feeling for the elements of Baroque style and dance forms that inspired Brahms…As this winning recital made clear, Mr. Schiff is a discerning judge of young pianists.”
Mr. Rabinovich, "whose mature, self-assured playing belies his chronological age” (San Fransisco Classical Voice) made his Israel Philharmonic debut under the baton of Zubin Mehta at age 10 and appeared again as soloist with the same forces in 1999 and 2003. He has been heard as soloist with all the Israeli orchestras, Orchestre de Chambre de Paris, KBS Orchestra, Buffalo Philharmonic, Prague Symphony, Lubbock Symphony, Ann Arbor Symphony, Symphony in C, Riverside Philharmonic, Dohnányi Orchestra and many other orchestras. Mr. Rabinovich performed Mozart’s concertos K. 488 and K. 595 with the Camerata Jerusalem on the orchestra’s tour in Italy. In April 2009 as part of his prize at the Rubinstein Competition Mr. Rabinovich played a recital for the Mezzo channel in France, which was televised to 39 countries and to millions of viewers. In May 2008 Mr. Rabinovich replaced the eminent pianist Murray Perahia in a recital at the Mann Auditorium in Tel-Aviv.
To date Mr. Rabinovich has participated in such festivals as Marlboro, Lucerne, Davos, Menuhin Festival Gstaad, Prague Spring, and Mecklenburg-Vorpommern. An avid chamber musician, he performed the complete Beethoven Sonatas for violin and piano with Liza Ferschtman last year. In May 2016, they will team up again for a chamber music marathon of Brahms in three consecutive concerts in Tel Aviv.
In December 2013 Mr. Rabinovich returned to Wigmore Hall with a solo recital and was immediately invited back for two more recitals in future seasons. In May 2014 Mr. Rabinovich made his Prague Spring Festival debut playing a solo recital in Rudolfinum and Rachmaninov Concerto No. 2 in Smetana Hall. In spring 2014 he toured with the Haifa Orchestra throughout the United States, performing as soloist in 28 cities. The tour included four concertos: Tchaikovsky’s Piano Concerto No. 1, Rachmaninov’s Piano Concertos Nos 2 & 3, and Beethoven’s Piano Concerto No. 3. In 2013, Orchid Classics released Mr. Rabinovich’s debut recording: “Ballets Russes”: Ravel/Rabinovich Daphnis & Chloe, Stravinsky Petrushka; and Prokofiev Romeo and Juliet, all arranged for piano solo. Mr. Rabinovich was honored with the Classical Recording Foundation Artist of the Year award for his CD, which was also given a four-star review by BBC Music Magazine, who had this to say: “This is clearly a labour of love. Rabinovich's stylish line drawings adorn the booklet, and the enthusiasm of his joyful playing is infectious. There is plenty of dazzling passagework to savor, with the "Dance Russe" zinging along merrily. It is the broad palette of colours that is most impressive, especially in the more poetic moments, such as the closing pages of "Romeo and Juliet before parting" (August 2013)
In addition to winning the top prize and four additional awards, including the prestigious Mezzo Award, best classical concerto, best young Israeli competitor and best performance of an Israeli piece awards at the 12th Arthur Rubinstein International Piano Master Competition in Israel in 2008. Mr. Rabinovich won first prize at the Animato Piano Competitions in Paris in 2007.
Mr. Rabinovich, born in 1985 in Tashkent, Uzbekistan, began his piano studies at the age of six with his mother, Mira. In 1994, he and his parents immigrated to Israel where he studied with Irena Vishnevitsky and later with professor Arie Vardi at the Rubin Academy of Music in Tel Aviv. He is a graduate of The Curtis Institute of Music as a student of Seymour Lipkin and obtained his Master’s Degree at the Juilliard School where he studied with Robert McDonald.
Mr. Rabinovich also excels as a gifted artist. He often combines his concerts with exhibitions of his paintings. Besides traditional painting Mr. Rabinovich draws on his iPad.
Noted by critics for the “vivacity and virtuosity” and “the impeccable clarity of execution,” Mr. Rabinovich’s 2015-16 highlights include Rachmaninov Concerto No. 3 with the KBS Orchestra and Yoel Levi, as well as return appearances with the Ann Arbor Symphony (Prokofiev Concerto No. 3) and the Dohnanyi Orchestra (Bartok Concerto No. 2). Recital engagements include Vancouver Recital Society, Cincinnati Matinee Musical Series, Chopin Society in St Paul, MN, Lincoln Center’s Alice Tully and the Walter Reade Theatre, as well as the Royal Welsh College of Music & Drama in Cardiff. Mr Rabinovich’s chamber partners this season will include the Doric and the Ariel Quartets.
During the 2016-17 season Mr. Rabinovich will present his “Haydn Project,” comprising the complete Haydn Piano Sonatas at the Lammermuir Festival in Scotland and at the Tel Aviv Conservatory in Israel and will make debut appearances with the Toulouse Capitole Orchestra and the Calgary Philharmonic.
Last season distinguished pianist András Schiff chose Mr. Rabinovich for his “Building Bridges” series created to highlight young pianists of unusual promise. Under this aegis Mr. Rabinovich was presented in a series of recitals in Zurich’s Tonhalle, Berlin, Ruhr Piano Festival, and New York’s SubCulture with a thoughtful selection of works by Bach, Brahms, Bartók, and Smetana that explore elements of dance and folk music in each of these composers. Anthony Tommasini, senior music critic of The New York Times (March 3, 2015) extolled Mr. Rabinovich’s performance of a Bach English Suite: “The challenge for a pianist is to convey the bouncy character of a dance while bringing clarity to the intricate contrapuntal lines, Mr. Rabinovich did so beautifully.” Rabinovich, in an eighty-minute recital without a break, went on to perform Brahms’s formidable Variations and Fugue on a Theme by Handel: “Most pianists would choose this piece as a heroic and virtuosic conclusion to a recital. Mr. Rabinovich performed it with uncommon sensitivity and feeling for the elements of Baroque style and dance forms that inspired Brahms…As this winning recital made clear, Mr. Schiff is a discerning judge of young pianists.”
Mr. Rabinovich, "whose mature, self-assured playing belies his chronological age” (San Fransisco Classical Voice) made his Israel Philharmonic debut under the baton of Zubin Mehta at age 10 and appeared again as soloist with the same forces in 1999 and 2003. He has been heard as soloist with all the Israeli orchestras, Orchestre de Chambre de Paris, KBS Orchestra, Buffalo Philharmonic, Prague Symphony, Lubbock Symphony, Ann Arbor Symphony, Symphony in C, Riverside Philharmonic, Dohnányi Orchestra and many other orchestras. Mr. Rabinovich performed Mozart’s concertos K. 488 and K. 595 with the Camerata Jerusalem on the orchestra’s tour in Italy. In April 2009 as part of his prize at the Rubinstein Competition Mr. Rabinovich played a recital for the Mezzo channel in France, which was televised to 39 countries and to millions of viewers. In May 2008 Mr. Rabinovich replaced the eminent pianist Murray Perahia in a recital at the Mann Auditorium in Tel-Aviv.
To date Mr. Rabinovich has participated in such festivals as Marlboro, Lucerne, Davos, Menuhin Festival Gstaad, Prague Spring, and Mecklenburg-Vorpommern. An avid chamber musician, he performed the complete Beethoven Sonatas for violin and piano with Liza Ferschtman last year. In May 2016, they will team up again for a chamber music marathon of Brahms in three consecutive concerts in Tel Aviv.
In December 2013 Mr. Rabinovich returned to Wigmore Hall with a solo recital and was immediately invited back for two more recitals in future seasons. In May 2014 Mr. Rabinovich made his Prague Spring Festival debut playing a solo recital in Rudolfinum and Rachmaninov Concerto No. 2 in Smetana Hall. In spring 2014 he toured with the Haifa Orchestra throughout the United States, performing as soloist in 28 cities. The tour included four concertos: Tchaikovsky’s Piano Concerto No. 1, Rachmaninov’s Piano Concertos Nos 2 & 3, and Beethoven’s Piano Concerto No. 3. In 2013, Orchid Classics released Mr. Rabinovich’s debut recording: “Ballets Russes”: Ravel/Rabinovich Daphnis & Chloe, Stravinsky Petrushka; and Prokofiev Romeo and Juliet, all arranged for piano solo. Mr. Rabinovich was honored with the Classical Recording Foundation Artist of the Year award for his CD, which was also given a four-star review by BBC Music Magazine, who had this to say: “This is clearly a labour of love. Rabinovich's stylish line drawings adorn the booklet, and the enthusiasm of his joyful playing is infectious. There is plenty of dazzling passagework to savor, with the "Dance Russe" zinging along merrily. It is the broad palette of colours that is most impressive, especially in the more poetic moments, such as the closing pages of "Romeo and Juliet before parting" (August 2013)
In addition to winning the top prize and four additional awards, including the prestigious Mezzo Award, best classical concerto, best young Israeli competitor and best performance of an Israeli piece awards at the 12th Arthur Rubinstein International Piano Master Competition in Israel in 2008. Mr. Rabinovich won first prize at the Animato Piano Competitions in Paris in 2007.
Mr. Rabinovich, born in 1985 in Tashkent, Uzbekistan, began his piano studies at the age of six with his mother, Mira. In 1994, he and his parents immigrated to Israel where he studied with Irena Vishnevitsky and later with professor Arie Vardi at the Rubin Academy of Music in Tel Aviv. He is a graduate of The Curtis Institute of Music as a student of Seymour Lipkin and obtained his Master’s Degree at the Juilliard School where he studied with Robert McDonald.
Mr. Rabinovich also excels as a gifted artist. He often combines his concerts with exhibitions of his paintings. Besides traditional painting Mr. Rabinovich draws on his iPad.
I started drawing when I was ten years old, and though I never took formal lessons, it has been my passion ever since. I love sketching in particular and I always have a sketchbook wherever I go. Here are some recent drawings and some pastels I did over the years. In the summer of 2010 I got a smart phone and an application called PaintJoy, which allows me to draw directly on my phone. I love the vibrancy of color one can get with it. Also, my pockets are no longer full of sketchbooks, pencils and brushes.
Upcoming Performances
Past Performances
Saint-Saens, Septet
Faure, Fantasy
d’Indy Suite Dans un Style Ancien
Bartok: Contrasts for clarinet, violin and piano
Intermission
Franck: Sonata for violin and piano
Bartok: Contrasts for clarinet, violin and piano
Intermission
Franck: Sonata for violin and piano
MICHAEL TORKE New Work (World Premiere, commissioned by Carnegie Hall)
LUTOSŁAWSKI Partita
TESSA LARK Appalachian Fantasy (NY Premiere)
BRAHMS Violin Sonata No. 3 in D Minor, Op. 108
Sonata in C # minor Hob XVI:36
Sonata in C major Hob.XVI:21
– Intermission –
Sonata in D major Hob XVI:42
Sonata in E flat major Hob XVI:52
Sonata in F major Hob XVI:23
Sonata in E minor Hob XVI:34
– Intermission –
Sonata in G minor Hob XVI:44
Sonata in C major Hob XVI:50
Sonata in G major Hob XVI:40
Sonata in D major Hob XVI:33
– Intermission –
Sonata in G major Hob XVI:39
Sonata in B minor Hob XVI:32
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: Piano Sonata in E flat major, Hob XVI:49
STRAVINSKY: Petrushka (solo piano)
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: Piano Sonata in E flat major, Hob XVI:49
STRAVINSKY: Petrushka (solo piano)
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: Piano Sonata in E flat major, Hob XVI:49
STRAVINSKY: Petrushka (solo piano)
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: c minor Hob XVI no 20
STRAVINSKY: Petrushka (solo piano)
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: E flat major Hob XVI no 25
STRAVINSKY: Petrushka (solo piano)
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: b minor Hob XVI no 32
STRAVINSKY: Petrushka (solo piano)
BROWN, MICHAEL: Surfaces (2015)
SCHUMANN: Faschingsschwank aus Wien, op.26
HAYDN: C major Hob XVI no 50
STRAVINSKY: Petrushka (solo piano)
Rachmaninov Cello Sonata
Cello Sonata with Yehuda Hanani
Dvorak Piano Quintet and Dumky Trio
Management in North America
Arts Management Group
130 West 57th Street Suite 6A
New York NY 10019
Tel: 212.337.0838
www.artsmg.com
info@artsmg.com
Managing Director
William J. Capone
bill@artsmg.com
General Management
Victoria Rowsell Artist Management Ltd
34 Addington Square
London SE5 7LB
Tel & Fax: +44 (0)20 7701 3219
www.victoriarowsell.co.uk
Victoria Rowsell
vr@victoriarowsell.co.uk
Nicolas Papageorgiou
np@victoriarowsell.co.uk
click here to see more of Roman's artwork
www.aestheticize.com
PUBLICITY PHOTOS
PHOTO ALBUM
ROMAN RABINOVICH - Haydn - Sonata in B Minor, Hob. XVI: 32 - YouTube
Haydn E flat major Sonata Hob XVI no. 49
Roman Rabinovich plays Haydn A flat major Sonata Hob. XVI no. 46
Haydn Piano Sonata in A flat, HXVI Hob46
Allegro Moderato - Adagio - Finale
Other Videos
Roman Rabinovich plays Stravinsky Petrushka - YouTube
ROMAN RABINOVICH - Janacek - In the Mists - YouTube
ROMAN RABINOVICH - Beethoven - Sonata No. 28 in A Major, Op. 101 - YouTube
ROMAN RABINOVICH - Schumann - Faschingsschwank aus Wein, Op. 26 - YouTube
Roman Rabinovich plays Rabinovich "Capriccio: Clown on a bicycle" - YouTube
Roman Rabinovich Rachmaninov 3, KBS and Yoel Levi
KBS and Yoel Levi
Ravel/Rabinovich- Danse generale from Daphnis and Chloe
click here to view
Roman Rabinovich plays Couperin
Cinq Pièces de Clavecin from Ordre 18
No.4
Performed live in concert, Dec 2013
Roman Rabinovich plays Chopin's Prélude No.19 in E flat major
Roman Rabinovich plays Chopin's Prélude No.16 in B flat minor
Roman Rabinovich plays Schumann Faschingsschwank aus Wien op 26
Prokofiev - Piano Concerto no 3 op 26 - I - Andante-Allegro
Prokofiev - Piano Concerto no 3 op 26 - II - Tema con variazioni
Prokofiev - Piano Concerto no 3 op 26 - III - Allgro, ma non troppo
Praised by the New York Times for his “uncommon sensitivity and feeling,” the eloquent young pianist Roman Rabinovich is the winner of the 2008 Arthur Rubinstein International Piano Master Competition. Mr. Rabinovich has performed throughout the United States, Europe and Israel in such prestigious venues as Wigmore Hall in London, Leipzig’s Gewandhaus, Carnegie’s Zankel Hall, as well as the Great Hall of Moscow Conservatory, Cité de la Musique in Paris and the Millennium Stage of the Kennedy Center in Washington DC.
Noted by critics for the “vivacity and virtuosity” and “the impeccable clarity of execution,” Mr. Rabinovich’s 2015-16 highlights include Rachmaninov Concerto No. 3 with the KBS Orchestra and Yoel Levi, as well as return appearances with the Ann Arbor Symphony (Prokofiev Concerto No. 3) and the Dohnanyi Orchestra (Bartok Concerto No. 2). Recital engagements include Vancouver Recital Society, Cincinnati Matinee Musical Series, Chopin Society in St Paul, MN, Lincoln Center’s Alice Tully and the Walter Reade Theatre, as well as the Royal Welsh College of Music & Drama in Cardiff. Mr Rabinovich’s chamber partners this season will include the Doric and the Ariel Quartets.
During the 2016-17 season Mr. Rabinovich will present his “Haydn Project,” comprising the complete Haydn Piano Sonatas at the Lammermuir Festival in Scotland and at the Tel Aviv Conservatory in Israel and will make debut appearances with the Toulouse Capitole Orchestra and the Calgary Philharmonic.
Last season distinguished pianist András Schiff chose Mr. Rabinovich for his “Building Bridges” series created to highlight young pianists of unusual promise. Under this aegis Mr. Rabinovich was presented in a series of recitals in Zurich’s Tonhalle, Berlin, Ruhr Piano Festival, and New York’s SubCulture with a thoughtful selection of works by Bach, Brahms, Bartók, and Smetana that explore elements of dance and folk music in each of these composers. Anthony Tommasini, senior music critic of The New York Times (March 3, 2015) extolled Mr. Rabinovich’s performance of a Bach English Suite: “The challenge for a pianist is to convey the bouncy character of a dance while bringing clarity to the intricate contrapuntal lines, Mr. Rabinovich did so beautifully.” Rabinovich, in an eighty-minute recital without a break, went on to perform Brahms’s formidable Variations and Fugue on a Theme by Handel: “Most pianists would choose this piece as a heroic and virtuosic conclusion to a recital. Mr. Rabinovich performed it with uncommon sensitivity and feeling for the elements of Baroque style and dance forms that inspired Brahms…As this winning recital made clear, Mr. Schiff is a discerning judge of young pianists.”
Mr. Rabinovich, "whose mature, self-assured playing belies his chronological age” (San Fransisco Classical Voice) made his Israel Philharmonic debut under the baton of Zubin Mehta at age 10 and appeared again as soloist with the same forces in 1999 and 2003. He has been heard as soloist with all the Israeli orchestras, Orchestre de Chambre de Paris, KBS Orchestra, Buffalo Philharmonic, Prague Symphony, Lubbock Symphony, Ann Arbor Symphony, Symphony in C, Riverside Philharmonic, Dohnányi Orchestra and many other orchestras. Mr. Rabinovich performed Mozart’s concertos K. 488 and K. 595 with the Camerata Jerusalem on the orchestra’s tour in Italy. In April 2009 as part of his prize at the Rubinstein Competition Mr. Rabinovich played a recital for the Mezzo channel in France, which was televised to 39 countries and to millions of viewers. In May 2008 Mr. Rabinovich replaced the eminent pianist Murray Perahia in a recital at the Mann Auditorium in Tel-Aviv.
To date Mr. Rabinovich has participated in such festivals as Marlboro, Lucerne, Davos, Menuhin Festival Gstaad, Prague Spring, and Mecklenburg-Vorpommern. An avid chamber musician, he performed the complete Beethoven Sonatas for violin and piano with Liza Ferschtman last year. In May 2016, they will team up again for a chamber music marathon of Brahms in three consecutive concerts in Tel Aviv.
In December 2013 Mr. Rabinovich returned to Wigmore Hall with a solo recital and was immediately invited back for two more recitals in future seasons. In May 2014 Mr. Rabinovich made his Prague Spring Festival debut playing a solo recital in Rudolfinum and Rachmaninov Concerto No. 2 in Smetana Hall. In spring 2014 he toured with the Haifa Orchestra throughout the United States, performing as soloist in 28 cities. The tour included four concertos: Tchaikovsky’s Piano Concerto No. 1, Rachmaninov’s Piano Concertos Nos 2 & 3, and Beethoven’s Piano Concerto No. 3. In 2013, Orchid Classics released Mr. Rabinovich’s debut recording: “Ballets Russes”: Ravel/Rabinovich Daphnis & Chloe, Stravinsky Petrushka; and Prokofiev Romeo and Juliet, all arranged for piano solo. Mr. Rabinovich was honored with the Classical Recording Foundation Artist of the Year award for his CD, which was also given a four-star review by BBC Music Magazine, who had this to say: “This is clearly a labour of love. Rabinovich's stylish line drawings adorn the booklet, and the enthusiasm of his joyful playing is infectious. There is plenty of dazzling passagework to savor, with the "Dance Russe" zinging along merrily. It is the broad palette of colours that is most impressive, especially in the more poetic moments, such as the closing pages of "Romeo and Juliet before parting" (August 2013)
In addition to winning the top prize and four additional awards, including the prestigious Mezzo Award, best classical concerto, best young Israeli competitor and best performance of an Israeli piece awards at the 12th Arthur Rubinstein International Piano Master Competition in Israel in 2008. Mr. Rabinovich won first prize at the Animato Piano Competitions in Paris in 2007.
Mr. Rabinovich, born in 1985 in Tashkent, Uzbekistan, began his piano studies at the age of six with his mother, Mira. In 1994, he and his parents immigrated to Israel where he studied with Irena Vishnevitsky and later with professor Arie Vardi at the Rubin Academy of Music in Tel Aviv. He is a graduate of The Curtis Institute of Music as a student of Seymour Lipkin and obtained his Master’s Degree at the Juilliard School where he studied with Robert McDonald.
Mr. Rabinovich also excels as a gifted artist. He often combines his concerts with exhibitions of his paintings. Besides traditional painting Mr. Rabinovich draws on his iPad.
Noted by critics for the “vivacity and virtuosity” and “the impeccable clarity of execution,” Mr. Rabinovich’s 2015-16 highlights include Rachmaninov Concerto No. 3 with the KBS Orchestra and Yoel Levi, as well as return appearances with the Ann Arbor Symphony (Prokofiev Concerto No. 3) and the Dohnanyi Orchestra (Bartok Concerto No. 2). Recital engagements include Vancouver Recital Society, Cincinnati Matinee Musical Series, Chopin Society in St Paul, MN, Lincoln Center’s Alice Tully and the Walter Reade Theatre, as well as the Royal Welsh College of Music & Drama in Cardiff. Mr Rabinovich’s chamber partners this season will include the Doric and the Ariel Quartets.
During the 2016-17 season Mr. Rabinovich will present his “Haydn Project,” comprising the complete Haydn Piano Sonatas at the Lammermuir Festival in Scotland and at the Tel Aviv Conservatory in Israel and will make debut appearances with the Toulouse Capitole Orchestra and the Calgary Philharmonic.
Last season distinguished pianist András Schiff chose Mr. Rabinovich for his “Building Bridges” series created to highlight young pianists of unusual promise. Under this aegis Mr. Rabinovich was presented in a series of recitals in Zurich’s Tonhalle, Berlin, Ruhr Piano Festival, and New York’s SubCulture with a thoughtful selection of works by Bach, Brahms, Bartók, and Smetana that explore elements of dance and folk music in each of these composers. Anthony Tommasini, senior music critic of The New York Times (March 3, 2015) extolled Mr. Rabinovich’s performance of a Bach English Suite: “The challenge for a pianist is to convey the bouncy character of a dance while bringing clarity to the intricate contrapuntal lines, Mr. Rabinovich did so beautifully.” Rabinovich, in an eighty-minute recital without a break, went on to perform Brahms’s formidable Variations and Fugue on a Theme by Handel: “Most pianists would choose this piece as a heroic and virtuosic conclusion to a recital. Mr. Rabinovich performed it with uncommon sensitivity and feeling for the elements of Baroque style and dance forms that inspired Brahms…As this winning recital made clear, Mr. Schiff is a discerning judge of young pianists.”
Mr. Rabinovich, "whose mature, self-assured playing belies his chronological age” (San Fransisco Classical Voice) made his Israel Philharmonic debut under the baton of Zubin Mehta at age 10 and appeared again as soloist with the same forces in 1999 and 2003. He has been heard as soloist with all the Israeli orchestras, Orchestre de Chambre de Paris, KBS Orchestra, Buffalo Philharmonic, Prague Symphony, Lubbock Symphony, Ann Arbor Symphony, Symphony in C, Riverside Philharmonic, Dohnányi Orchestra and many other orchestras. Mr. Rabinovich performed Mozart’s concertos K. 488 and K. 595 with the Camerata Jerusalem on the orchestra’s tour in Italy. In April 2009 as part of his prize at the Rubinstein Competition Mr. Rabinovich played a recital for the Mezzo channel in France, which was televised to 39 countries and to millions of viewers. In May 2008 Mr. Rabinovich replaced the eminent pianist Murray Perahia in a recital at the Mann Auditorium in Tel-Aviv.
To date Mr. Rabinovich has participated in such festivals as Marlboro, Lucerne, Davos, Menuhin Festival Gstaad, Prague Spring, and Mecklenburg-Vorpommern. An avid chamber musician, he performed the complete Beethoven Sonatas for violin and piano with Liza Ferschtman last year. In May 2016, they will team up again for a chamber music marathon of Brahms in three consecutive concerts in Tel Aviv.
In December 2013 Mr. Rabinovich returned to Wigmore Hall with a solo recital and was immediately invited back for two more recitals in future seasons. In May 2014 Mr. Rabinovich made his Prague Spring Festival debut playing a solo recital in Rudolfinum and Rachmaninov Concerto No. 2 in Smetana Hall. In spring 2014 he toured with the Haifa Orchestra throughout the United States, performing as soloist in 28 cities. The tour included four concertos: Tchaikovsky’s Piano Concerto No. 1, Rachmaninov’s Piano Concertos Nos 2 & 3, and Beethoven’s Piano Concerto No. 3. In 2013, Orchid Classics released Mr. Rabinovich’s debut recording: “Ballets Russes”: Ravel/Rabinovich Daphnis & Chloe, Stravinsky Petrushka; and Prokofiev Romeo and Juliet, all arranged for piano solo. Mr. Rabinovich was honored with the Classical Recording Foundation Artist of the Year award for his CD, which was also given a four-star review by BBC Music Magazine, who had this to say: “This is clearly a labour of love. Rabinovich's stylish line drawings adorn the booklet, and the enthusiasm of his joyful playing is infectious. There is plenty of dazzling passagework to savor, with the "Dance Russe" zinging along merrily. It is the broad palette of colours that is most impressive, especially in the more poetic moments, such as the closing pages of "Romeo and Juliet before parting" (August 2013)
In addition to winning the top prize and four additional awards, including the prestigious Mezzo Award, best classical concerto, best young Israeli competitor and best performance of an Israeli piece awards at the 12th Arthur Rubinstein International Piano Master Competition in Israel in 2008. Mr. Rabinovich won first prize at the Animato Piano Competitions in Paris in 2007.
Mr. Rabinovich, born in 1985 in Tashkent, Uzbekistan, began his piano studies at the age of six with his mother, Mira. In 1994, he and his parents immigrated to Israel where he studied with Irena Vishnevitsky and later with professor Arie Vardi at the Rubin Academy of Music in Tel Aviv. He is a graduate of The Curtis Institute of Music as a student of Seymour Lipkin and obtained his Master’s Degree at the Juilliard School where he studied with Robert McDonald.
Mr. Rabinovich also excels as a gifted artist. He often combines his concerts with exhibitions of his paintings. Besides traditional painting Mr. Rabinovich draws on his iPad.
Pianist Roman Rabinovich on his affinity with HaydnDavid Kettle The Scotsman
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Preview about the Haydn Project for ChamberFest ClevelandZachary Lewis The Plain Dealer
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ChamberFest’s Winter Mini Festival to feature Roman Rabinovich in Haydn sonatasMike Telin www.clevelandclassical.com
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"the pianist brought a grandeur to the opening movement, flawless technique to the scherzo, and exquisite beauty to the concluding slow movement."
"Roman Rabinovich gave an alluring, playful performance which brought the masterful concert to its conclusion."MIke Telin www.clevelandclassical.com
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"Roman Rabinovich gave an alluring, playful performance which brought the masterful concert to its conclusion."
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"Rabinovich’s playing of this work (Hob. XVI:46) was absolute perfection. The lines were elegantly shaped and beautifully tapered in the opening Allegro, while the quirky wit shone through and the embellishments were light and decorative. The Adagio had a gorgeous tonal lustre and a wonderful sense of flow and feeling of space. In the finale, Rabinovich captured the ebullient mood and high spirits of the piece and the rapid figurations were clearly and elegantly played. The degree of technical finish throughout was exemplary and the sonata had clearly been studied very closely".Robert Beattie, Seen and Heard International
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after my debut recital at Lincoln Center - "admirable interpretations of the Sonatas in E minor (Hob. XVI:34) and C (Hob. XVI:48), performed with a rich, full-blooded sound, singing lines and witty dexterity".Vivien Schweitzer New York Times
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"Rabinovich delivered a hugely intense and virtuosic performance"
"With enormous power, Rabinovich delivered the unrelenting harshness of the five-movement work, and then turned it beguilling pianissimos for a magical "wow!" moment at the end of the second moevement"Sherli Leonard The Press-Enterprise, CA
"With enormous power, Rabinovich delivered the unrelenting harshness of the five-movement work, and then turned it beguilling pianissimos for a magical "wow!" moment at the end of the second moevement"
Lincoln Center debut recitaldelarue Lucid Culture
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Andras Schiff's presented recital in SubCulture NYCHarry Rolnick ConcertoNet.com
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"He played with very fine nuancing which, together with terrific fingers, made for wonderful clarity in multi-voice writing"
"Mr. Rabinovich's impressive arrangement of Daphnis and Chloe was wonderful, and one especially couldn't help but notice the exotic beauty of the second movement. The last movements were exhilirating, especially the fiendishly difficult concluding Danse generale"
"...a clockbuse perforamnce of Patrushka, which was hugely impressive! He cought all the changes of mood wonderfully from sprightly to ironic to coy to forceful. The clarity of voicing refferred to before, plus his wonderful rhythmic sense (especially with syncopation) and his terrific imagination all worked to great effect."Donald Isler classicalmusicguide.com
"Mr. Rabinovich's impressive arrangement of Daphnis and Chloe was wonderful, and one especially couldn't help but notice the exotic beauty of the second movement. The last movements were exhilirating, especially the fiendishly difficult concluding Danse generale"
"...a clockbuse perforamnce of Patrushka, which was hugely impressive! He cought all the changes of mood wonderfully from sprightly to ironic to coy to forceful. The clarity of voicing refferred to before, plus his wonderful rhythmic sense (especially with syncopation) and his terrific imagination all worked to great effect."
"Roman Rabinovich displayed seemingly an unflappable virtuosity"
"The pianist really captured the inherent drama and varying dramatic moods in the different scenes of Prokofiev's epic Romeo and Juiliet"
"Rabinovich made the piano seem an extension of his body, coaxing vast swaths of sound from the instrument even at quick tempos"
"he produced such dramatic effects that you didn't need a synopsis to understand the basic emotional arc of the myth the music is based on."Brett Campbell Oregon ArtsWatch
read more
"The pianist really captured the inherent drama and varying dramatic moods in the different scenes of Prokofiev's epic Romeo and Juiliet"
"Rabinovich made the piano seem an extension of his body, coaxing vast swaths of sound from the instrument even at quick tempos"
"he produced such dramatic effects that you didn't need a synopsis to understand the basic emotional arc of the myth the music is based on."
read more
"Rabinovich's performance of Rachmaninoff's Piano Concerto no 3 in d minor was electric. To say that the Israeli pianist brought the house down would probably be an understatement. Rabinovich - displaying impressive self-confidence - delivered a performance that was focused, emotional, strikingly nuanced and superbly executed. The thing about Rabinovich is that he made his performance look riiculously easy."Roger LeLievre The Ann Arbor News
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about Beethoven Concerto no 3-
"Rabinovich has a clean, solid technique; his dynamic range is quite broad, and he can perform a small but effective dynamic change at any level. Especially impressive was his crescendo from near silence to quite loud. His interpretation was faultless — technique, dynamics and interpretation."Joseph Youngblood http://www.palmbeachdailynews.com/
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"Rabinovich has a clean, solid technique; his dynamic range is quite broad, and he can perform a small but effective dynamic change at any level. Especially impressive was his crescendo from near silence to quite loud. His interpretation was faultless — technique, dynamics and interpretation."
read more
Rabinovich unites the most sensitive moments with his utmost pianissimo and seemingly expands time untill he creates virtuostic turmoil wih all the power of his well balanced hands, over the keyboardIlona Oltuski getclassical.org
Ligeti's Etude no.4 (Fanfares) was then given marvelous vibrancy by Mr. Rabinovich.Rorianne Schrade New Conert Review
"Rabinovich was superbly attuned to both the subtle intimacies and extroverted glories of the headlining work, the Brahms PIano Concerto no 1 in d minor."
"His Brahms was full of light and nuance and singing inner voices. What was better? The entrances that whispered with tender intimacy? The shimmering trills? The way he pointed up the top of phrases? The way he used his hands off the piano, continuing a gesture visually (but never in a showmanlike way) to make a phrase continue to sing in silence? It all added up to a moving - and riveting - performance."Susan Isaacs Nisbett The Ann Arbor News
read more
"His Brahms was full of light and nuance and singing inner voices. What was better? The entrances that whispered with tender intimacy? The shimmering trills? The way he pointed up the top of phrases? The way he used his hands off the piano, continuing a gesture visually (but never in a showmanlike way) to make a phrase continue to sing in silence? It all added up to a moving - and riveting - performance."
read more
The Scarlatti sonatas illustrated the fine detail of his playing as well as his complete lack of flamboyance: he served the composer and was a channel for Scarlatti’s music.
The challenging Sonata in G, drew from him a performance of vivacity and virtuosity such as must have secured him the prize, but the impeccable clarity of execution still shone through.
He brought the same self-effacing calm and a rock solid technique to Brahms Handel Variations negotiating the 25 variations and fugue and their range of styles with a wealth of tonal nuance, unruffled calm and dazzling ability.Margaret Davies Musical Opinion
The challenging Sonata in G, drew from him a performance of vivacity and virtuosity such as must have secured him the prize, but the impeccable clarity of execution still shone through.
He brought the same self-effacing calm and a rock solid technique to Brahms Handel Variations negotiating the 25 variations and fugue and their range of styles with a wealth of tonal nuance, unruffled calm and dazzling ability.
“I have rarely seen an artist with such individual and communicative charisma”
“His playing is spontaneous, calculated and sophisticated”
“He reminded me of Glenn Gould, in his explosive, provoking and arbitrary behavior.”Peter Cossé Record Geijutsu Editor's Report
“His playing is spontaneous, calculated and sophisticated”
“He reminded me of Glenn Gould, in his explosive, provoking and arbitrary behavior.”
“(Roman Rabinovich) is patently serious, musically and obviously a technically strong player”.
“Roman Rabinovich tempered his natural exuberance with unusual maturity and discretion: his virtuosity sizzled but never once intimidated”
“His nauancing and ornamentation were thoroughly stylish and pianistic in the best sense” (about Bach Partita no.6)
“Balakirev’s wickedly difficult oriental Fantasy, Islamey, was recreated with confidence, excitement and every not-its-place detail.”Harris Goldsmith New York Concert Review
“Roman Rabinovich tempered his natural exuberance with unusual maturity and discretion: his virtuosity sizzled but never once intimidated”
“His nauancing and ornamentation were thoroughly stylish and pianistic in the best sense” (about Bach Partita no.6)
“Balakirev’s wickedly difficult oriental Fantasy, Islamey, was recreated with confidence, excitement and every not-its-place detail.”
“Rabinovich develops [inter]connections, uncovers layers and lets the Steinway sound sparkle.”
“The pianist approaches Beethoven's Sonata in A-flat, op. 110 with careful consideration and develops an unusual intricate play of coloration; he dedicates himself to the nuances. And that is good.”Leipziger Volgszeitung
“The pianist approaches Beethoven's Sonata in A-flat, op. 110 with careful consideration and develops an unusual intricate play of coloration; he dedicates himself to the nuances. And that is good.”
”The young pianist Roman Rabinovich skillfully and sensitively navigated the intense but transitory emotions, as each prelude appeared, expressed a single mood and vanished without a wasted note”. (about Chopin’s preludes)
“Opening with appropriately sinister tone, he plunged into a dramatic interpretation that taxed the power of the Yamaha grand on the stage”. (about Beethoven’s Appasionata)David Fleshler South Florida Sun-Sentinel
“Opening with appropriately sinister tone, he plunged into a dramatic interpretation that taxed the power of the Yamaha grand on the stage”. (about Beethoven’s Appasionata)
He exhibited an ultimate and captivating artistic levelHagai Hitron Haaretz March
... the Pfleghof must have rarely heard such a thundering applause. Rabinovich had to return to the stag three times before the break.”
“Rabinovich’s powdery timbre was extraordinary”.
“ Radical and absolute “ (about Beethoven’s Appassionata)
“Silk-like leggerissimo, rhythmic, but also griming winter storms and whistling thirds like rockets” (about Chopin’s Preludes op 28)
“Some of his ideas might seem unconventional, but he is believable. In his playing you’ll find something substantial and true.“
“Each note is longing for the following one-this is Rabinovich”Tubingen
“Rabinovich’s powdery timbre was extraordinary”.
“ Radical and absolute “ (about Beethoven’s Appassionata)
“Silk-like leggerissimo, rhythmic, but also griming winter storms and whistling thirds like rockets” (about Chopin’s Preludes op 28)
“Some of his ideas might seem unconventional, but he is believable. In his playing you’ll find something substantial and true.“
“Each note is longing for the following one-this is Rabinovich”
”During intermission, it seemed all anyone was talking about was Rabinovich…His musical canvas, on display for the Concerto for Piano and Orchestra No. 20 in D Minor, was filled with delicate pastels and vivid hues…the audience seemed to be hanging on every emotional note”Roger LeLievre The Ann Arbor News
“Rabinovich has full technical command of the piano, and plays with a great deal of sensitivity. “
“Rabinovich brought a surprisingly mature interpretation to this work, bringing out the lyricism and the sweeping phrasing. It was a special treat to hear this work, and to hear it performed so well.” (about Berg Sonata op 1)
“Rabinovich stayed on stage for Mily Balakirev's fiendishly difficult Islamey, subtitled An Oriental Fantasy. His playing was brilliant, clean, and well articulated. Though billed as the most difficult work in the repertoire, Rabinovich had it completely under control. It may seem unusual to find someone so young with such prodigious technique.”Joseph Youngblood West Palm Beach Daily News
“Rabinovich brought a surprisingly mature interpretation to this work, bringing out the lyricism and the sweeping phrasing. It was a special treat to hear this work, and to hear it performed so well.” (about Berg Sonata op 1)
“Rabinovich stayed on stage for Mily Balakirev's fiendishly difficult Islamey, subtitled An Oriental Fantasy. His playing was brilliant, clean, and well articulated. Though billed as the most difficult work in the repertoire, Rabinovich had it completely under control. It may seem unusual to find someone so young with such prodigious technique.”
"Mr. Rabinovich performed with uncommon sensitivity and feeling.
He immediately brought a wonderful brio and spontaneity to Bach’s English Suite No. 4 in F.
Mr. Rabinovich played with crisp rhythmic bite and abundant colorings"Anthony Tommasini New York Times
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He immediately brought a wonderful brio and spontaneity to Bach’s English Suite No. 4 in F.
Mr. Rabinovich played with crisp rhythmic bite and abundant colorings"
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Wigmore Hall debut review - "The whole concert was played in an exceptionally cultivated way and with a high degree of technical finish. ...an evening of exceptional music making."Robert Beattie Seen and Heard International
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"A true polymath, in the Renaissance sense of the word".Lucy Jeffery Seen and Heard International
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"He is an artist of the highest caliber; a pianist with complete technical command, a prodigious memory and a highly individual personality at the piano"Donald Waxman Palm Beach Arts Paper
about Tchaikovsky Concerto no 1 -
Rabinovich has yet to enter the upper echelons of piano masters, where he should be, based on his masterful performance this evening. With brilliant technique, and mature sensitivity, Rabinovich brought fresh life to this sometimes overly torrid workBy Gayle Williams , Herald-Tribune / Thursday, January 23, 2014 Herald-Tribune
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Rabinovich has yet to enter the upper echelons of piano masters, where he should be, based on his masterful performance this evening. With brilliant technique, and mature sensitivity, Rabinovich brought fresh life to this sometimes overly torrid work
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"Followed a truly memorable performance of Sergei Rachmaninov’s Piano Concerto No. 3 spotlighting 28-year-old Israeli pianist Roman Rabinovich. Rabinovich made it look — and sound — easy. He doesn’t use a piano bench but instead sits upright on a high-backed chair displaying virtually no body language. His wrists and hands are exceptionally fluid, producing a variety of tonal colors from his instrument.
The concerto demands tonal variety throughout, ranging from the almost hopeless sadness of the first movement to the exuberance and rhythmic excitement of the “Finale.” Rabinovich was up to the concerto’s multiple challenges and the audience was enthusiastic and appreciative, a demonstration that led to two beautifully played encores."ALAN ADAMS LAS VEGAS REVIEW-JOURNAL March 14, 2014
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The concerto demands tonal variety throughout, ranging from the almost hopeless sadness of the first movement to the exuberance and rhythmic excitement of the “Finale.” Rabinovich was up to the concerto’s multiple challenges and the audience was enthusiastic and appreciative, a demonstration that led to two beautifully played encores."
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"With Roman Rabinovich at the keyboard, this was no standard off-the-rack reading. Rabinovich is a piano virtuoso with a strong musical profile. He had the technique to play the famously thundering scales of this concerto, but he also looked into the more hidden springs of beauty in this somewhat rambling work. Rabinovich's soft lyrical playing was almost hypnotic, and at times the forward impulse of the music almost came to a halt.John Frayne News Gazette, February 27, 2014
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Remarkable performance from Roman Rabinovich, a pianist whose mature, self-assured playing belies his chronological ageJanos Gereben San Francisco Classical Voice
"He is an artist of the highest caliber; a pianist with complete technical command, a prodigious memory and a highly individual personality at the piano"
"...it was an amazing accomplishment, both the transcription and its performance..." (Ravel's Daphnis and Chloe)
"For this climactic piece Rabinovich pulled out all the stops, his hands flying over the keyboard, often crossing one another, his fingers moving in rapid repetitions, gliassandi suddenly emerging at the end of runs – it was a tour de force. I would predict that the Daphnis and Chloe arrangement will become a signature piece in Rabinovich’s repertoire. It should bring down the house everywhere..."Donald Waxman Palm Beach Arts Paper
"...it was an amazing accomplishment, both the transcription and its performance..." (Ravel's Daphnis and Chloe)
"For this climactic piece Rabinovich pulled out all the stops, his hands flying over the keyboard, often crossing one another, his fingers moving in rapid repetitions, gliassandi suddenly emerging at the end of runs – it was a tour de force. I would predict that the Daphnis and Chloe arrangement will become a signature piece in Rabinovich’s repertoire. It should bring down the house everywhere..."
Listening to Rabinovich's recording of these pieces is an immensely pleasurable experience. In my opinion, the artist is in his own element here.Haggai Hitron Haaretz Newspaper
Other Press
"Rabinovich delivered a hugely intense and virtuosic performance"
"With enormous power, Rabinovich delivered the unrelenting harshness of the five-movement work, and then turned it beguilling pianissimos for a magical "wow!" moment at the end of the second moevement"Sherli Leonard The Press-Enterprise, CA
"With enormous power, Rabinovich delivered the unrelenting harshness of the five-movement work, and then turned it beguilling pianissimos for a magical "wow!" moment at the end of the second moevement"
Lincoln Center debut recitaldelarue Lucid Culture
read more
read more
Andras Schiff's presented recital in SubCulture NYCHarry Rolnick ConcertoNet.com
read more
read more
"He played with very fine nuancing which, together with terrific fingers, made for wonderful clarity in multi-voice writing"
"Mr. Rabinovich's impressive arrangement of Daphnis and Chloe was wonderful, and one especially couldn't help but notice the exotic beauty of the second movement. The last movements were exhilirating, especially the fiendishly difficult concluding Danse generale"
"...a clockbuse perforamnce of Patrushka, which was hugely impressive! He cought all the changes of mood wonderfully from sprightly to ironic to coy to forceful. The clarity of voicing refferred to before, plus his wonderful rhythmic sense (especially with syncopation) and his terrific imagination all worked to great effect."Donald Isler classicalmusicguide.com
"Mr. Rabinovich's impressive arrangement of Daphnis and Chloe was wonderful, and one especially couldn't help but notice the exotic beauty of the second movement. The last movements were exhilirating, especially the fiendishly difficult concluding Danse generale"
"...a clockbuse perforamnce of Patrushka, which was hugely impressive! He cought all the changes of mood wonderfully from sprightly to ironic to coy to forceful. The clarity of voicing refferred to before, plus his wonderful rhythmic sense (especially with syncopation) and his terrific imagination all worked to great effect."
"Roman Rabinovich displayed seemingly an unflappable virtuosity"
"The pianist really captured the inherent drama and varying dramatic moods in the different scenes of Prokofiev's epic Romeo and Juiliet"
"Rabinovich made the piano seem an extension of his body, coaxing vast swaths of sound from the instrument even at quick tempos"
"he produced such dramatic effects that you didn't need a synopsis to understand the basic emotional arc of the myth the music is based on."Brett Campbell Oregon ArtsWatch
read more
"The pianist really captured the inherent drama and varying dramatic moods in the different scenes of Prokofiev's epic Romeo and Juiliet"
"Rabinovich made the piano seem an extension of his body, coaxing vast swaths of sound from the instrument even at quick tempos"
"he produced such dramatic effects that you didn't need a synopsis to understand the basic emotional arc of the myth the music is based on."
read more
"Rabinovich's performance of Rachmaninoff's Piano Concerto no 3 in d minor was electric. To say that the Israeli pianist brought the house down would probably be an understatement. Rabinovich - displaying impressive self-confidence - delivered a performance that was focused, emotional, strikingly nuanced and superbly executed. The thing about Rabinovich is that he made his performance look riiculously easy."Roger LeLievre The Ann Arbor News
read more
read more
about Beethoven Concerto no 3-
"Rabinovich has a clean, solid technique; his dynamic range is quite broad, and he can perform a small but effective dynamic change at any level. Especially impressive was his crescendo from near silence to quite loud. His interpretation was faultless — technique, dynamics and interpretation."Joseph Youngblood http://www.palmbeachdailynews.com/
read more
"Rabinovich has a clean, solid technique; his dynamic range is quite broad, and he can perform a small but effective dynamic change at any level. Especially impressive was his crescendo from near silence to quite loud. His interpretation was faultless — technique, dynamics and interpretation."
read more
Rabinovich unites the most sensitive moments with his utmost pianissimo and seemingly expands time untill he creates virtuostic turmoil wih all the power of his well balanced hands, over the keyboardIlona Oltuski getclassical.org
Ligeti's Etude no.4 (Fanfares) was then given marvelous vibrancy by Mr. Rabinovich.Rorianne Schrade New Conert Review
"Rabinovich was superbly attuned to both the subtle intimacies and extroverted glories of the headlining work, the Brahms PIano Concerto no 1 in d minor."
"His Brahms was full of light and nuance and singing inner voices. What was better? The entrances that whispered with tender intimacy? The shimmering trills? The way he pointed up the top of phrases? The way he used his hands off the piano, continuing a gesture visually (but never in a showmanlike way) to make a phrase continue to sing in silence? It all added up to a moving - and riveting - performance."Susan Isaacs Nisbett The Ann Arbor News
read more
"His Brahms was full of light and nuance and singing inner voices. What was better? The entrances that whispered with tender intimacy? The shimmering trills? The way he pointed up the top of phrases? The way he used his hands off the piano, continuing a gesture visually (but never in a showmanlike way) to make a phrase continue to sing in silence? It all added up to a moving - and riveting - performance."
read more
The Scarlatti sonatas illustrated the fine detail of his playing as well as his complete lack of flamboyance: he served the composer and was a channel for Scarlatti’s music.
The challenging Sonata in G, drew from him a performance of vivacity and virtuosity such as must have secured him the prize, but the impeccable clarity of execution still shone through.
He brought the same self-effacing calm and a rock solid technique to Brahms Handel Variations negotiating the 25 variations and fugue and their range of styles with a wealth of tonal nuance, unruffled calm and dazzling ability.Margaret Davies Musical Opinion
The challenging Sonata in G, drew from him a performance of vivacity and virtuosity such as must have secured him the prize, but the impeccable clarity of execution still shone through.
He brought the same self-effacing calm and a rock solid technique to Brahms Handel Variations negotiating the 25 variations and fugue and their range of styles with a wealth of tonal nuance, unruffled calm and dazzling ability.
“I have rarely seen an artist with such individual and communicative charisma”
“His playing is spontaneous, calculated and sophisticated”
“He reminded me of Glenn Gould, in his explosive, provoking and arbitrary behavior.”Peter Cossé Record Geijutsu Editor's Report
“His playing is spontaneous, calculated and sophisticated”
“He reminded me of Glenn Gould, in his explosive, provoking and arbitrary behavior.”
“(Roman Rabinovich) is patently serious, musically and obviously a technically strong player”.
“Roman Rabinovich tempered his natural exuberance with unusual maturity and discretion: his virtuosity sizzled but never once intimidated”
“His nauancing and ornamentation were thoroughly stylish and pianistic in the best sense” (about Bach Partita no.6)
“Balakirev’s wickedly difficult oriental Fantasy, Islamey, was recreated with confidence, excitement and every not-its-place detail.”Harris Goldsmith New York Concert Review
“Roman Rabinovich tempered his natural exuberance with unusual maturity and discretion: his virtuosity sizzled but never once intimidated”
“His nauancing and ornamentation were thoroughly stylish and pianistic in the best sense” (about Bach Partita no.6)
“Balakirev’s wickedly difficult oriental Fantasy, Islamey, was recreated with confidence, excitement and every not-its-place detail.”
“Rabinovich develops [inter]connections, uncovers layers and lets the Steinway sound sparkle.”
“The pianist approaches Beethoven's Sonata in A-flat, op. 110 with careful consideration and develops an unusual intricate play of coloration; he dedicates himself to the nuances. And that is good.”Leipziger Volgszeitung
“The pianist approaches Beethoven's Sonata in A-flat, op. 110 with careful consideration and develops an unusual intricate play of coloration; he dedicates himself to the nuances. And that is good.”
”The young pianist Roman Rabinovich skillfully and sensitively navigated the intense but transitory emotions, as each prelude appeared, expressed a single mood and vanished without a wasted note”. (about Chopin’s preludes)
“Opening with appropriately sinister tone, he plunged into a dramatic interpretation that taxed the power of the Yamaha grand on the stage”. (about Beethoven’s Appasionata)David Fleshler South Florida Sun-Sentinel
“Opening with appropriately sinister tone, he plunged into a dramatic interpretation that taxed the power of the Yamaha grand on the stage”. (about Beethoven’s Appasionata)
He exhibited an ultimate and captivating artistic levelHagai Hitron Haaretz March
... the Pfleghof must have rarely heard such a thundering applause. Rabinovich had to return to the stag three times before the break.”
“Rabinovich’s powdery timbre was extraordinary”.
“ Radical and absolute “ (about Beethoven’s Appassionata)
“Silk-like leggerissimo, rhythmic, but also griming winter storms and whistling thirds like rockets” (about Chopin’s Preludes op 28)
“Some of his ideas might seem unconventional, but he is believable. In his playing you’ll find something substantial and true.“
“Each note is longing for the following one-this is Rabinovich”Tubingen
“Rabinovich’s powdery timbre was extraordinary”.
“ Radical and absolute “ (about Beethoven’s Appassionata)
“Silk-like leggerissimo, rhythmic, but also griming winter storms and whistling thirds like rockets” (about Chopin’s Preludes op 28)
“Some of his ideas might seem unconventional, but he is believable. In his playing you’ll find something substantial and true.“
“Each note is longing for the following one-this is Rabinovich”
”During intermission, it seemed all anyone was talking about was Rabinovich…His musical canvas, on display for the Concerto for Piano and Orchestra No. 20 in D Minor, was filled with delicate pastels and vivid hues…the audience seemed to be hanging on every emotional note”Roger LeLievre The Ann Arbor News
“Rabinovich has full technical command of the piano, and plays with a great deal of sensitivity. “
“Rabinovich brought a surprisingly mature interpretation to this work, bringing out the lyricism and the sweeping phrasing. It was a special treat to hear this work, and to hear it performed so well.” (about Berg Sonata op 1)
“Rabinovich stayed on stage for Mily Balakirev's fiendishly difficult Islamey, subtitled An Oriental Fantasy. His playing was brilliant, clean, and well articulated. Though billed as the most difficult work in the repertoire, Rabinovich had it completely under control. It may seem unusual to find someone so young with such prodigious technique.”Joseph Youngblood West Palm Beach Daily News
“Rabinovich brought a surprisingly mature interpretation to this work, bringing out the lyricism and the sweeping phrasing. It was a special treat to hear this work, and to hear it performed so well.” (about Berg Sonata op 1)
“Rabinovich stayed on stage for Mily Balakirev's fiendishly difficult Islamey, subtitled An Oriental Fantasy. His playing was brilliant, clean, and well articulated. Though billed as the most difficult work in the repertoire, Rabinovich had it completely under control. It may seem unusual to find someone so young with such prodigious technique.”
Two Pianos
Four Hands
Chamber Music
Reviews
This is clearly a labour of love. Rabinovich's stylish line drawings adorn the booklet, and the enthusiasm of his joyful playing is infectious. There is plenty of dazzling passagework to savor, with the "Dance Russe" zinging along merrily. It is the broad palette of colours that is most impressive, especially in the more poetic moments, such as the closing pages of "Romeo and Juliet before parting.Christopher Dingle BBC Music Magazine
This beautiful CD makes you want more!Marco Frei Piano News, Germany
Compelling, dynamic and with great sensitivity he revives the piano arrangements of Stravinsky, Prokofiev and Ravel. In two movements arranged by Mr Rabinovich, from Daphnis and Chloe full of flowering poetry, the Uzbeki-born award-winning 25-year-old pianist, plays with crystallized power, energy, and rhythmic tension.Alexander Werner Der Kurier, Austria
"He is an artist of the highest caliber; a pianist with complete technical command, a prodigious memory and a highly individual personality at the piano"
"...it was an amazing accomplishment, both the transcription and its performance..." (Ravel's Daphnis and Chloe)
"For this climactic piece Rabinovich pulled out all the stops, his hands flying over the keyboard, often crossing one another, his fingers moving in rapid repetitions, gliassandi suddenly emerging at the end of runs – it was a tour de force. I would predict that the Daphnis and Chloe arrangement will become a signature piece in Rabinovich’s repertoire. It should bring down the house everywhere..."Donald Waxman Palm Beach Arts Paper
"...it was an amazing accomplishment, both the transcription and its performance..." (Ravel's Daphnis and Chloe)
"For this climactic piece Rabinovich pulled out all the stops, his hands flying over the keyboard, often crossing one another, his fingers moving in rapid repetitions, gliassandi suddenly emerging at the end of runs – it was a tour de force. I would predict that the Daphnis and Chloe arrangement will become a signature piece in Rabinovich’s repertoire. It should bring down the house everywhere..."
Listening to Rabinovich's recording of these pieces is an immensely pleasurable experience. In my opinion, the artist is in his own element here.Haggai Hitron Haaretz Newspaper
About My Haydn Project
“He alone has the secret of making me smile and touching me to the bottom of my soul.”- Mozart about Haydn
Over the next two seasons I’m planning to perform the complete cycle of Haydn’s Piano Sonatas.
Haydn is the most underestimated of the great composers and one that I particularly adore. His wit, emotional depth and compositional invention have been a source of inspiration to me.
I think the general audience (and professional musicians for that matter) are more familiar with some of Haydn’s strings quartets and the symphonies. Somehow the sonatas are overshadowed by those of Mozart and Beethoven. I believe that they are real gems and, in a way, more experimental than Mozart’s sonatas. Each sonata explores a different idea. No one had an arsenal of ideas like Haydn. You never know what to expect around the corner and he will always be ahead of you. He is like a magician who sets up expectations, and when you start following him he completely defies them. It really keeps you on your toes.
Haydn composed piano sonatas throughout his entire creative life (spanning about 45 years), starting with the charming sonatinas from his early days in Vienna, through the highly dramatic Sturm und Drang sonatas and ending with the 3 Grand and bravura sonatas of the London period. These pieces were played in residencies of aristocracy and perhaps occasionally in a concert-like environment.
Haydn composed them for amateurs and connoisseurs. The distinction is important. Sonatas for professional musicians are works in which the player was expected to embellish and improvise in the proper style, to fill in the blanks, so to speak. On the other hand, amateurs did not know how to compose or add ornaments. As the middle class was growing and people could afford musical instruments at their homes, the number of amateur musicians grew. Haydn, being very practical and pragmatic, understood the potential for a new market for his works and changed his notation to a more simplified style so everyone could read his compositions without compromises.
Of course, these works were not thought of to be performed as a performing unit and Haydn would probably think of me as a crazy person.
Playing them as a cycle gives me and the audience the chance to follow the diversity and range of these magnificent works, many of which are still unknown to the general public.
Upcoming Performances
Past Performances
Sonata in C # minor Hob XVI:36
Sonata in C major Hob.XVI:21
– Intermission –
Sonata in D major Hob XVI:42
Sonata in E flat major Hob XVI:52
Sonata in F major Hob XVI:23
Sonata in E minor Hob XVI:34
– Intermission –
Sonata in G minor Hob XVI:44
Sonata in C major Hob XVI:50
Sonata in G major Hob XVI:40
Sonata in D major Hob XVI:33
– Intermission –
Sonata in G major Hob XVI:39
Sonata in B minor Hob XVI:32
Video
ROMAN RABINOVICH - Haydn - Sonata in B Minor, Hob. XVI: 32 - YouTube
Haydn E flat major Sonata Hob XVI no. 49
Roman Rabinovich plays Haydn A flat major Sonata Hob. XVI no. 46
Haydn Piano Sonata in A flat, HXVI Hob46
Allegro Moderato - Adagio - Finale
In the Press
Pianist Roman Rabinovich on his affinity with HaydnDavid Kettle The Scotsman
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Preview about the Haydn Project for ChamberFest ClevelandZachary Lewis The Plain Dealer
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ChamberFest’s Winter Mini Festival to feature Roman Rabinovich in Haydn sonatasMike Telin www.clevelandclassical.com
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"the pianist brought a grandeur to the opening movement, flawless technique to the scherzo, and exquisite beauty to the concluding slow movement."
"Roman Rabinovich gave an alluring, playful performance which brought the masterful concert to its conclusion."MIke Telin www.clevelandclassical.com
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"Roman Rabinovich gave an alluring, playful performance which brought the masterful concert to its conclusion."
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"Rabinovich’s playing of this work (Hob. XVI:46) was absolute perfection. The lines were elegantly shaped and beautifully tapered in the opening Allegro, while the quirky wit shone through and the embellishments were light and decorative. The Adagio had a gorgeous tonal lustre and a wonderful sense of flow and feeling of space. In the finale, Rabinovich captured the ebullient mood and high spirits of the piece and the rapid figurations were clearly and elegantly played. The degree of technical finish throughout was exemplary and the sonata had clearly been studied very closely".Robert Beattie, Seen and Heard International
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after my debut recital at Lincoln Center - "admirable interpretations of the Sonatas in E minor (Hob. XVI:34) and C (Hob. XVI:48), performed with a rich, full-blooded sound, singing lines and witty dexterity".Vivien Schweitzer New York Times
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