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Vita Roman Viazoskiy was born in 1974 in Donezk, Ukraine. From 1988 to 1992, he studied with Viktor Kriwenko at the Donezk College of Music. He continues his studies with Prof. Walerij Iwko (guitar) and Ludmila Popowa (conducting) at the Sergey Prokofiev Conservatory in Donezk. After graduating in 1996, he began his postgraduate studies with Prof. Reinbert Evers at the Music Academy in Detmold, Munster Campus. He completed his studies at the Cologne Music Academy, Aachen Campus with Prof. Tadashi Sasaki. Concert commitments have led Roman Viazovskiy to almost every European country, to Japan, and to the most important guitar festivals. He has taken part in radio and TV productions in the Ukraine, Germany, Spain, Italy and Japan. Since 2004 he has been the artistic director of the Heinsberg International Guitar Festival & Competition. 2001 saw the release of his debut CD, "Fatum" (Dreyer.Gaido CD 21001). Holder of the Most Promising Artist Award (1997) and holder of a scholarship at the GWK in Munster Viazovskiy has received a plethora of national and international awards. In 1999 he received 1st prize in Japan at the 42nd Tokyo International Guitar Contest after having won the International Guitar Competition in Weikersheim, germany in 1997, and the International Guitar Competition in Zori, Poland in 1993. In 2003, he received the top award at th 5th International Guitar Competition in Servancelhe, Portugal. In 1998 in Germany, he received the Yamaha Music Foundation of Europe Prize for Most Promising Artist represented by the Sparkasse Aachen. He achieved 2nd prize at the Tychy International Guitar Competition (Poland, 1994), Tredrez-Locquemau (France, 1997), Michele Pittaluga in the Italien city of Alessandria (2001) and the 18th Andres Segovia Competition in Spain’s La Herradura-Almunecar (2002), as well as in Montreal at the Guitar Foundation of America (Canada, 2004). |
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Viazovskiy is entirely in command of these works technically. Musically, too, he is at home with their stylistic variety. The Berkeley Sonatina has a limpid clarity in the first movement. The Rodrigo Sonata Giocosa and Castelnuovo-Tedesco Sonata are equally well handled. In particular, Viazovskiy brings great sprightliness to the first movement of the Castelnuovo-Tedesco. The two pieces by Vassiliev are new to disc. The Sonata-fantasy is a four-movement work inspired by Shakespeare’s Romeo and Juliet. The third movement, "The Fight", is particularly impressive – dynamic and menacing. The other movements are less focused and not so clearly characterised. Vassiliev’s three-movement Sonata, however, is more sucessful, and formally more adventurous. It deserves to be taken up by more players. A Scherzo opens the work, followed by a slow Passacaglia with a processional feel. The final movement is a tour de force for both composer and performer. It is based on a few motifs that undergo ingenious transformations, including at one point a lyrical slow interlude. Vassiliev shows he can create an extended movement by
unpacking the possibilities of small amount of musical material, instead
of having to introduce new themes. Allan Clive Jones
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