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Oxana Yablonskaya

Prof. Dr. Oxana YablonskayaWorld renown pianist, Professor Emeritus of Juilliard School of Music, Honorable Academician of the International Academy of the Arts at the United Nations, International Academy of the Arts in San Francisco and Independent Academy of Liberal Arts at the Russian Academy of Sciences in Moscow, Recipient of Einstein Medal for Outstanding Achievements in the Arts, Dr. Oxana Yablonskaya is one of the most sought after Musicians and Pedagogues of our time. She became the youngest ever to start teaching at the age of 17 at the famed Central Music School for Gifted Children in Moscow, continuing her career at the legendary Moscow Conservatory as Assistant Professor to Tatiana Nikolaeva for 10 years and from 1983 to 2008 teaching at the most prestigious Art institution, the Juilliard School of Music. Finally, she founded Oxana Yablonskaya Piano Institute in Italy, where she trained many top prize winners of International Piano Competitions.

Throughout her nearly 60 years performing career Oxana Yablonskaya performed in more than 40 countries as recitalist, soloist with the great number of prestigious symphony orchestras and prominent conductors such as Rozhdestvensky, Rostropovich, Svetlanov, Piero Gamba, Blumstedt, Kersies, Zhordania, Uri Maier, just to name a few. She has many recordings of music by Tchaikovsky, Chopin, Brahms, Glazunov, Khachaturian, Rachmaninoff, Liszt, Mussorgsky, Prokoffiev on such labels as Naxos, Bel Air, Melodiya, Classical records, Connoisseur Society. Her recording of Schubert-Liszt on Connoisseur Society has won Grand Prix du Disque from a Budapest Liszt Society and became the Record of the Month Club.

Summarizing her lifelong experiences as Teacher and Performer Oxana Yablonskaya wrote autobiographical book "Small Hands. Theme and Variations", where alongside her turbulent life as a Mother, Grandmother , avid dog lover and Musician, she gives priceless advise how to use small hands to help achieve the best results in the piano performing. The book was printed in Russian and English languages and is already very popular between young and adult pianists, students, amateur music lovers, and non musicians alike. Soon the book will be translated into Chinese language in Taiwan.

In 2014 Oxana Yablonskaya and her husband made alia to Israel and from November 2016. Dr. Yablonskaya is teaching at the Jerusalem Academy of Music and Dance. Madame Yablonskaya continues active concert touring performing in Israel, United States, Europe and East Asia.

"...Yablonskaya's musicality never gives way to merely exploiting the music for its own glory. If tastefulness and stylistic insight mean anything to you, you will thoroughly enjoy listening to Oxana Yablonskaya"

"An orchestra is superfluous for 'Pictures at an Exhibition' when there is a pianist of Yablonskaya's powers to paint them in such indelible colors. A thoroughly excited audience lingered for four encores."

Los Angeles Times

"...Yablonskaya is a mixture of passion, power and poetry, and in the course of one concert, put herself, her piano and the audience through everything that could be expected of a piano recital."

Toronto Star

"...A large audience welcomed her back to Chicago, and her program revealed a technique as impressive as ever, as well as a temperament equally at home in the simple elegance of a Mozart rondo and the thundering chords of a Scriabin etude. Being perfectly able to manipulate the keyboard however she wants, Yablonskaya knows when to take risks and when to pull back and let the music speak for itself.

In the two major pieces, the Beethoven Sonata in D Minor, Op.31, both dramatic, emotional works – Yablonskaya's bold originality surfaced. She took full liberty with the experiments in contrasting rhythm and dynamics in the first movement of the Beethoven. She lingered over the slow introductory bars whenever they returned, letting each rising tone build and echo before plunging into the short, answering flurry of notes.

In the famous Marche Funebre of the Chopin sonata, she emphasized the bass melody's relentless nature rather than its overpowering volume. In the Sonata's opening movement, she gave this almost chaotic music coherence by highlighting the return of early motifs. She made sure we heard a rumble of octaves under a singing melody and the harmonic twists that helped reinforce the shape of this hectic, headlong movement.

Yablonskaya's sheer technical prowess was on the most vivid display in six Scriabin etudes from Op. 8, exercisers composed in imitation of Chopin's etudes. But as the Mozart Rondo K.511 and the Chopin Noturne Op. 9, No. 1 and Scherzo Op. 31, No. 2 revealed, she also can weave a lyrically meditative melody."

Chicago Sun-Times

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