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2206 1990

La critique de JEAN TREILLE “L’ART DE LA SERENADE”, PARIS.

… Quelles solent riantes comme les ragtimes de Vilensky et Joplin …

2908 1997

MASTERLIGT PIANOSPEL I MARINMUSEUM, Jane Betts BLT (Blekinde Lans Tinging), SWEDEN

Sorgligt nog var inte den ryske kompositoren Konstantin Vilensky pa plats nar hans Sonata uruppfordes av Patrik Jablonski. Annars hade han nog blivit lycklig pa torsdagskvallen nar han hade hort unde Jablonski framfora hans nyskrivna verk pa Marinmuseum.

Verket bestod av jazzinspirerade passager med tunga, alternativt snabba ackord, avbrutna med tvara kast av lyrisk anslagna improvisationer. Hela tangentbordet togs i ansprak och hos Patrik Jablonski marktes inga tekniska elter musikaliska begransningar. Har fanns bade en maktig ton och ett mjukt anslag.

Konstantin Vilensky, 49 ar, pianoprofessor och aven jazzpianist, lar skriva pa ytterligare verk for broderna Jablonski.

Steget mellan verk av den nu levande Vilensky och den hogromantiske Franz List, som dog 1886, var egentligen markvardigt kort. Bada excellerar i svara maktiga passager som kraver stor teknisk och utvecklad musikalisk kompetens.

2908 1997

Free translation of the last part of the article MASTERLY PIANO PERFORMANCE AT THE MARINE MUZEM

… The step between works by the living Vilensky and the highly romantic Franz List, who died in 1886, was actually rather short. Both of them excels in difficult and heavy passages which require great technique and well developed musical competence.

0609 1997

Erik Wallrup, SVENSKA DAGBLADET

… Messiaenpreludier ledde vidare i det precisa klangtankandet medan det tredje pekade mot den extroverta modernismen i en jazzig sonata av Vilensky och Prokofjevs virtuosa tredje sonat …

11 1998

Valentina Chrenkina, “FOLK MUSIC AND JAZZ” Magazine “Bulgarian and Soviet Friendship”, Sofia

… Konstantin’s talents for music make no surprise for anyone – this is a family trait …

2707 1998

Matti Eden SYDSVENSKAN, “FORDELAR TROTS BRIST PA DJARVHET OCH ORIGINALITET”

… Vid flygein arbetar Konstantin Vilensky fran Ukraina malmedvetet och ekonomiskt, han utmejslar sirliga ornament utan overlastning. Det ar befriande att slippa nagot som vi ojta hor bland musiker i vagt: radslan att inte gora tillrackligt, tron att man ultid, i varje fras, maste satta sitt avtryck i partituret, ullt for utt skapa ett spannande “uppleveri”. Ofta racker antydningar langt. Ibland far pianisten likna en uggla, snarare an ett lejon.

0706 1999

Katarzyna Kaczmarczyk, “Gazeta Wyborcza”, Opole, Poland, “IMPROVISATIONS BY VILENSKY”

Star of concert was the excellent Ukrainian pianist and composer Konstantin Vilensky. Decendant of a highly musical family, he is a successful all-round artist performing both classical music and jazz.

During the concert on last Friday he presented the Opole audience his own intereating compositions on the themes of popular marican literature. In his brilliant “Variations on the themes by Scott Joplin” he showed his perfect piano mastery and rich musical imagination. His improvised solo fragments were a confirmation of his fine musical intuition and pianistic freedom. The absolute specific swinging style of Duke Ellington was experienced in the instrumental sphere of the succeeding variations – throughout contrabass and percussion solo parties, which on themselves gave light bliss with their warm sounds.

The first sound of “The man I love” started in a meaningful form, the stirring, masterly “Concert-Fantasy on the themes by Gershwin”. Twelve splendid, suizing, famous Gershwin themes, some slightly simulated, others sketched expressively, smoothly combined in an ideal wholeness.

2112 1999

Jazz Professor Konstiantyn Vilensky Goes the Distance, THE DAY WEEKLY DIGEST #47, Yuliya DERHUN.

Kyiv pianist and composer Konstiantyn Vilensky’s concert at the Hall of Columns of the capital’s Philharmonic Society was a real Christmas present to all his admirers and devotees of classical jazz. For the past several seasons this jazz professor (as dubbed by the Western press) had toured Poland, Italy, Germany, France, Holland, and Belgium, as foreign audiences proved more gratifying in every respect, compared to domestic ones. After receiving a classical music education, Konstiantyn Vilensky put his knowledge and talent to good use, polishing his favorite style, jazz. That the combination was extremely fruitful became once again evident during his concert at the National Philharmonic Society. Accompanied by the Philharmonic directed by Mykola Diadiura and assisted by a support group of jazzmen from Italy, Poland, and Ukraine, he was equally good at variations from Joplin, improvisations on Gershwin themes, and well-known blues arrangements, followed by a pleasant surprise, a brilliant slightly ironic interpretation of Rimsky-Korsakov’s Flight of the Bumblebee, reports The Day’s

Konstantin Vilensky