Tempo

  
       

Pavel Gomziakov Cello

Press quotes

Pavel Gomziakov is absolutely at one with the cello. [...] and his playing throughout is duly underlined by a direct, intimate communication. [...] which comes over as a heartfelt, action-halting aria, but also in the substantial and challenging cadenza. Characterful but not overly jocular in the first movement and with effortless articulation in the finale, Gomziakov continues to impress.

"The Strad recommends" - Edward Bhesania, The Strad, August 2016

These are immensely tender, intimate readings from Gomziakov; it almost feels as though we’re intruding on a private little love affair between him and the instrument, as he explores just how beautiful he can get it to sound.

Charlotte Gardner, Gramophone, September 2016

Review for the wonderful new recording of Haydn's Cello Concertos from Pavel Gomziakov […] [The Concerto in D’s] rondo finale swings peacefully by, enlivened by Gomziakov’s delicate ornaments and octaves that tingle with precision. […] Gomziakov exudes easy sophistication and grace.

Hellen Wallace, BBC Music Magazine

[...] with the Shostakovich cello concerto, in a dazzling performance by the young Russian cellist Pavel Gomziakov, being the standout item on the programme. From the opening bars, and the repeated DSCH motif that litters the work, Gomziakov set out his stall: this was to be a bold, assertive reading of the score, with wonderful, resonant cello tone [...]. But just as impressive were the quiet, introvert passages in the three short movements that are run together to make the second movement of the work: in particular the virtuoso cadenza that simply had to be written for the work’s dedicatee (and first performer), Mstislav Rostropovich. Here Gomziakov need not have feared comparison – he absolutely nailed the musical discourse [...].

M. Reynolds, Musical criticism

The chance to hear the highly regarded cellist Pavel Gomziakov in his Seattle debut may also have been a factor in drawing a good-sized audience to the first of the three programs on Oct. 24. They were not disappointed. Gomziakov, accorded a Grammy nomination for his 2009 Deutsche Grammophon recording of the Chopin Cello Sonata, gave a splendidly nuanced account of the familiar Haydn C Major Cello Concerto. His subtle bowing created a broad tonal palette, from incisive accents to the softest and most dulcet melodic lines. Rarely do you hear such a wide dynamic range in a concerto soloist; most players are afraid to take the volume down so far, fearing they won’t be heard. Conductor Willis brought the orchestra’s volume down as well, partnering Gomziakov with care and finesse. The airy second movement was particularly fine. Technique, expressive mastery, a beautiful array of sounds: this is an imposing and important cellist whom audiences will want to hear again.

Melinda Bargreen, Classical King FM

Michael Ullman reviewed in these pages a two-disc Chopin set from Maria João Pires in which Gomziakov joins her in a performance of Chopin’s cello sonata. Ullman calls the vibrant young cellist a special treat, and I couldn’t agree more. There are a lot of recordings of Saint-Saëns’s A-Minor Cello Concerto to choose from, but this one, just in terms of Gomziakov’s technical execution, is jaw-dropping. But his gorgeous tone and melting way with the tender, lyrical passages are pure magic.

J. Dubins, Fanfare