“Violinist Yevgeny Kutik seeks to break that cycle. His new album Words Fail features a collection of wordless works, past and present, which speak to the indescribable power of music.” Read the full review.
Yevgeny’s recital at the Phillips Collection in Washington, DC reviewed by The Washington Post!
“He turned in a vivid and captivating performance [of Muhly’s Compare Notes]…That sense of directness and vitality set the tone for the entire concert, which may explain the program’s striking sense of cohesion. Or perhaps it was Kutik’s assured and full-bodied playing, which (supported impeccably by Andres) brought a kind of rough-and-tumble lyricism to two neo-classical works by Stravinsky, the 1932 “Duo Concertante” and the 1933 “Suite Italienne for Violin and Piano” (based on the Pulcinella ballet). Kutik, who was born in Minsk, Belarus, has a clear affinity for Stravinsky’s earthy, rich chamber music, and his reading of the “Duo Concertante” was the most characterful — and maybe most satisfying — you’re ever likely to hear.
But the violinist may have reserved his most insightful playing for the premiere of “Words Fail,” a one-movement “song without words” he commissioned from Andres last year. The work, Andres explained, was an attempt to grapple with his own aversion to vocal music (words are “one thing too many” in music, he said) by exploring the voice-like qualities of the violin. From a descending lament, the work slowly gathers power through overlapping variations, becoming darker, more ambiguous and more complex before building to a soaring climax. Kutik and Andres gave a persuasive, deeply thoughtful reading to this involving new work.”
THE GREENVILLE NEWS (March 23, 2014)
“For the Sibelius violin concerto, Yevgeny Kutik exerted a dazzling command of the soloist’s role. Sibelius’ only concerto, composed for the instrument he loved most, reveals the tempestuous soul of his homeland. Kutik rolled off the soaring melodies in rhapsodic style. Above all, Kutik’s performance was passionate. With lightning-fast arpeggios, stretches of ‘dialogue’ in which Kutik created both ‘speakers,’ and ravishing slow violin melodies, Kutik offered the audience an electrifying performance.”