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Tanya Gabrielian
Hailed by the London Times as "a pianist of powerful physical and imaginative muscle," Tanya Gabrielian's international successes include first prizes in both the 2004 Scottish International Piano Competition and the 2003 Aram Khachaturyan International Piano Competition. She has performed in renowned concert halls throughout North America, Europe, and Asia and was featured on the cover of the November 2007 issue of the magazine Clavier. In 2008, Ms. Gabrielian was chosen as the winner of the Pro Musicis International Award.
Tanya Gabrielian has performed with a number of orchestras, including the Los Angeles Philharmonic, the New London Sinfonia, and the Armenian Philharmonic Orchestra, and she toured Scotland with the Royal Scottish National Orchestra, making her debut at Usher Hall, Edinburgh, and a return performance at Glasgow Royal Concert Hall. Performances have taken her to Armenia, Canada, England, France, Germany, Holland, Ireland, Japan, Scotland, South Korea, Spain, and Switzerland, as well as across the United States, including Boston, Dallas, Los Angeles, Miami, New York, and San Francisco. Ms. Gabrielian's Southbank debut recital in the Purcell Room in London, presented by the Philharmonia Orchestra, was chosen as one of the "Performances of the Year 2006" by Seen and Heard International. Her Wigmore Hall debut, as winner of the coveted Wigmore Prize awarded by the Royal Academy of Music, was reviewed as "revelatory, a feast of romantic pianism which held us enthralled" and "an astounding achievement by any standards, and one I cannot imagine being bettered… Remember the name—Tanya Gabrielian—you will be hearing a lot more from her I feel sure." Recent and upcoming performances include recitals in Carnegie Hall and Alice Tully Hall in New York, Myra Hess Concert Series in Chicago, Wigmore Hall in London, Salle Cortot in Paris, and the Edinburgh International Festival, as well as live radio broadcasts from KCSN in Los Angeles, WGBH in Boston, WFMT in Chicago, and NPR.
Tanya Gabrielian has performed with such artists as Alexander Lazarev, Edwin Outwater, and Paul Coletti, and she has had the opportunity to work with Pierre-Laurent Aimard, Stephen Hough, John O'Conor, Richard Goode, Peter Frankl, Lazar Berman, Jerome Lowenthal, and Matti Raekallio. She has been generously supported by the Philharmonia Orchestra's Martin Musical Scholarship, Hattori Foundation, Musicians Benevolent Fund, Craxton Memorial Trust, Ricci Foundation, Else and Leonard Cross Charitable Trust, Nora Naismith Scholarship, Benjamin Dale Award, Donald J. Isaak Piano Foundation, and the Shenson Scholarship.
Born in the United States in 1983, Ms. Gabrielian began playing the piano at the age of three and studied in the Preparatory Division of the San Francisco Conservatory of Music. In 2000, she moved to London, where she received her Bachelor's and Master's degrees from the Royal Academy of Music, studying with Hamish Milne and Alexander Satz. Upon graduation, she was awarded with a DipRAM, the highest performing award of the Royal Academy of Music, and she received the prize for the best final recital for six consecutive years. Ms. Gabrielian currently resides in New York City and works with Robert McDonald at The Juilliard School, where she was the only student accepted to the prestigious Artist Diploma program in 2009.
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Round I
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G. F. Handel
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Chaconne
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Schnittke
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Variations on a Chord
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F. Chopin
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Ballade No. 1 in G minor, Op. 23
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Round II
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C. Debussy
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Two Preludes, Book II: La puerta del vino, General Lavine - eccentric
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L. v. Beethoven
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Sonata in F-sharp major, Op. 78
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S. Rachmaninoff
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Three Etudes-Tableaux: E-flat Major, Op. 33 No. 6; A
Minor, Op. 39 No. 2; C-sharp Minor, Op. 33 No. 9
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Semifinal Round
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Bach-Liszt
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Prelude and Fugue for Organ in A Minor
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J. Brahms
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Klavierstucke, Op. 118
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B. Bartok
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Out of Doors
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Final Round
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Tchaikovsky
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Concerto No. 1 in B-flat minor, Op. 23
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In her own words:
My two passions outside of music are quite complementary--food and, luckily for my stomach, sports. I love traveling and seeing what different cuisines are around the world. I use to do kung fu, which resulted in a rather bad accident where I ended up in hospital for over a month. On this occasion, I tried to protect my hands when I fell and pulled them back, so my head was the unfortunate recipient of the collision with the floor. I came to the conclusion that the attempt to become a concert pianist was not quite compatible with practicing a martial art, so I have unfortunately had to stop (and have tried to fill the whole in my heart with many kung fu films). So now, I stick mostly to running and yoga, which have proven to be much safer alternatives.
Piano competitions are a necessary evil. The whole concept of judging and ranking is as far removed from the true purpose of any artistic form. However, with the overwhelming number of musicians that there are today, promoters seem to need a way to evaluate how good a person is without having met them, and unfortunately, competitions are one way that people believe they can judge the worth of a musician. Of course, ranking always leads to conflict, and trying to figure out what a judge is looking for, where a judge's allegiance lies, and how to play to offend the least number of jury members are all goals that are opposite of what I feel a performer should do when on stage, playing for an audience. The only thing one can do in this situation is try to be as honest as possible on stage, to the music and to yourself, and if nobody likes it, at least you have been sincere.
My goal in life is to be happy and to bring happiness to people around me. Being a musician is not my first priority--the most important thing is to be a good person and to have love, humanity, and compassion, which then will hopefully show in everything else that you do, including music. First, I want to try to figure out how to be a more complete human being, then a musician, and only then, a pianist. I really do feel that music is a way to see who a person really is, and if you don't work on your heart and your soul, what can you really show an audience apart from technique--and you can of course program a computer to play far more correct notes than any person will ever be able to do.
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